Farewell to Christine Elias

Suzanne Fairbanks, Deputy Archivist
Sophie Garrett, Assistant Archivist

Christine Elias, Project Archivist, June 2015
Christine Elias, Project Archivist, hard at work on the locations project in the UMA repository. Photographer: Sophie Garrett. June 2015

At the end of June 2015 the University of Melbourne Archives (UMA) will say farewell to Christine Elias who has been with us on a project contract since August 2013. During the almost two years that she has been with us, Christine has been the backbone of the Locations Upgrade Project Team (LUP) which has transformed aspects of how the Archives manages its holdings and provides access to material by researchers.

In 2009 the UMA upgraded its collection management database to KE EMu and a range of new access and collection management functions became possible. EMu is capable of displaying our digitised finding aids online, enabling researchers for the first time to access many details of our holdings without visiting the Reading Room. A generous Ross Trust grant enabled UMA to digitise and expose over 600 finding aids by 2012. EMu is capable of a range of behind the scenes collection management functions as well, such as recording the location of every storage unit in our 20 kilometres of holdings. Prior to 2013 our locations were recorded in a range of inefficient manual ways separate from EMu, so the LUP was conceived and an application for support submitted to the Miegunyah Committee.

The initial goals of the Project were to record location data in EMu to achieve efficiencies of staff time behind the scenes, and to build the possibility that researchers may be able to order material online. The LUP has achieved this and much more. Moving location data into EMu has confronted us with the peculiarities and inconsistencies of old systems and enabled us to create a new set of standards and procedures. It has effectively required us to audit and relabel each box; to identify estrays; repackage where absolutely necessary; shelve boxes in a more logical way; and most importantly devise efficient ways to bulk upload data which we now use constantly.

There are many advantages for staff behind the scenes; however one of the most pleasing outcomes is visible to researchers. During the LUP we discovered many more hard copy finding aids that have now been updated and made available online. Christine was able to create box lists for some of our largest and most interesting collections which are also now available online. Long before computer data bases, previous archivists recorded contents on the front of boxes before or instead of creating an inventory or finding aid. This practice was workable in the days when the storage repository and the Reading Room were in the same building and the collection was much smaller. If there was no detailed list of the contents of a collection, archivist and researcher could peruse the boxes to identify material for research use. This became a major problem after 1999 when the Reading Room and repository were physically separated. It resulted in reference staff travelling to the Repository to select material for researchers. At the instigation of Fiona Ross, Christine recorded this box front information creating close to 400 extra box lists that are now visible to the public. Due to the LUP and the creation of finding aids for new acquisitions since 2012, there are now over 1660 finding aids online.

While the task of uploading box locations will not finish when the LUP ends in late June, the Project has turned around the way UMA manages its locations, improved efficiency and standardised our practices. Staff have uploaded location data on over 68,700 boxes, Christine alone uploading 46,600.

Other Team members are Sue Fairbanks, Sophie Garrett, Rolf Linnestad, Fiona Ross, Melinda Barrie, Jane Beattie and Emma Hyde. The directing Committee has been chaired by Dr Katrina Dean.

So we thank Christine for all this work undertaken so cheerfully and we wish her well.
We will follow her work organising a collection management system for the records and artefacts of archaeological research stored at the British Institute in Amman with great interest. Having worked with Christine we know that, like us, the British Institute will be very lucky and grateful to have her on their team.

Christine Elias has a Diploma in Law and Collections Management from the Institute of Art and Law, UK; Master of Arts (Classics and Archaeology) from the University of Melbourne; and a Graduate Diploma of Museum Studies from Deakin University. She is very experienced in a range of collection management roles, and has worked as an archaeological registrar on excavations in Jordan.


Motoring and Travelling with Shell – Digital Images Online

The University of Melbourne Archives (UMA) is pleased to announce that a selection of photographs and items from the Shell Historical Archive 2008.0045 have now been digitised and are available for viewing online. This collection is a rich source of photographs, images, souvenirs, artefacts and correspondence which offer insight into Australia’s motoring history.

Discover Australia With Shell Australian Wildflowers Springtime in the Grampians, Shell Historical Archive 2008.0045.0305, Shell Historical Archive, 2008.0045, University of Melbourne Archives.
Discover Australia With Shell Australian Wildflowers Springtime in the Grampians, Shell Historical Archive 2008.0045.0305, Shell Historical Archive, 2008.0045, University of Melbourne Archives.

In the post war years Shell produced a number of series of educational swapcard albums, calendars, posters and tour maps. They attracted many well known artists to work on these road side souvenir sets which later became sought after collectables – luckily many samples of these works have survived and are now available for access via UMA.

An example is  Ralph Malcolm Warner who had formerly been well known for his work as a war artist  who undertook a commission with Shell in 1959 to create a Discover Australia with Shell (DAWS) series of souvenir posters. This particular set of posters show various natural Australian settings featuring their wildflowers. Other poster series include illustrations of Australia’s unique shells and bird life. The DAWS campaign was a promotional program designed to advertise the company’s services, in particular the Shell Touring Service. The posters were available to all travellers who stopped at select Shell service stops to fill up their cars or plan their trip.

The image featured in this post is one of a set of twelve posters that depicts the Victorian Grampians in the springtime. It shows off Warner’s distinctive use of bright colours to highlight his wildflowers against the majestic Grampians setting. Notes about the place are conveniently added to the bottom of the poster which advise the traveller that ‘Among the natural features that make Australia a motorists wonderland are the Grampians’. In addition there is a handy reference guide to what the wildflowers are called.

To see Warner’s Australian Wildflower poster series and much more visit the University of Melbourne Archives website at http://archives.unimelb.edu.au/ If you wish to obtain publication standard copies of the images please refer all requests to archives@archives.unimelb.edu.au


Why Satyrs Won’t Eat Soup

Satyrs, or hybrid beings who are part-human and part-goat, are famed for their love of wine and bawdy behaviour. Marcantonio Raimondi’s Bacchanal (1510-27) derived from an ancient sarcophagus bas-relief, and displaying a lot of drunken followers of Dionysus, is characteristic of the type of activities associated with satyrs. However, as a number of printed examples reveal, a bowl of soup placed before a satyr elicits some surprisingly sober conduct.

Bacchanal (1510-27); Baillieu Library Print Collection, the University of Melbourne. Gift of Dr. J. Orde Poynton 1959.
Bacchanal (1510-27); Baillieu Library Print Collection, the University of Melbourne. Gift of Dr. J. Orde Poynton 1959.

The satyr and the peasant (1644-52) shows the satyr intensely fixated on the rustic’s mouth, who is lustily blowing on his soup while his wife tends the cooking in the background. The etching is after an image which appears in Aegidius Sadeler’s Theatrum morum (1608) which in turn is after Eduard de Dene’s version of Aesop’s Fables: De warachtighe fabulen der dieren illustrated by Marcus Gheeraerts (1567).[1] Just as the image is a variation on a common idea, the original fable from Aesop formed the inspiration for many depictions of the satyr taking the moral high ground when it comes to soup.

The satyr and the peasant (1644-52); Baillieu Library Print Collection, the University of Melbourne. Gift of Dr J. Orde Poynton 1959.
The satyr and the peasant (1644-52); Baillieu Library Print Collection, the University of Melbourne. Gift of Dr J. Orde Poynton 1959.

Versions of the fable concern a traveller or peasant who takes shelter from wintry weather in a satyr’s cave. This mythological woodland creature is both amazed and horrified to witness the man blow on his hands to warm them, and then proceed to blow on his scalding cup of wine to cool it. ‘The man’s host shook with terror, dumbfounded at the double portent. The satyr drove his guest out into the woods and ordered him to be on his way. ‘Do not let any man ever come near my cave again,’ said the satyr, ‘if he can breathe in two different ways for the very same mouth!’’[2] It was this fable which coined the saying ‘to blow hot and cold.’

The scene has developed further in the image engraved by Lucas Vorsteman and it is the satyr who is now visiting the peasant’s house. The family group appear enthralled and even flabbergasted by the sage satyr who stands to leave, wagging an admonishing finger over his untouched soup. While a rooster, the bird which announces betrayal in the Bible eyes the satyr speculatively, and a loyal dog skulks under the table.

The satyr and the peasant (c. 1621); Baillieu Library Print Collection, the University of Melbourne. Gift of Dr J. Orde Poynton 1959.
The satyr and the peasant (c. 1621); Baillieu Library Print Collection, the University of Melbourne. Gift of Dr J. Orde Poynton 1959.

The mood is much less serious in the same scene portrayed by Christian Wilhelm Ernst Dietrich. It is almost as if the satyr has just told the family an amusing story as he overbalances his chair. The child on the mother’s lap reels back and the other child grins in a crude state of undress. It is only the grandmother engaging the viewer from the background, who seems to blow a cold wind of morality through the picture.

The satyr and the peasant (1739); Baillieu Library Collection, the University of Melbourne. Transferred from the Rowden White Library 1982.
The satyr and the peasant (1739); Baillieu Library Collection, the University of Melbourne.
Transferred from the Rowden White Library 1982.

Kerrianne Stone (Curator, Prints)

 

 

 


[1]  Richard Pennington, A descriptive catalogue of the etched work of Wenceslaus Hollar, 1607-1677, Cambridge [Eng.]; New York: Cambridge University Press, 1982, p. 64

[2]  Aesop’s fables by Aesop; translated with an introduction and notes by Laura Gibbs, Oxford: Oxford University Press, 2002, p. 174


A Rare Example: Diana Scultori (Mantovana) 16th-Century Female Engraver

[The following post was written by Amelia Saward, student intern, Print Collection]

In sixteenth century Italy most women were confined to the social sphere. A female’s contribution to their family was generally through marriage and producing successions to the family line. For upper class women it also included paying house calls to other respectable women in order to maintain societal connections. Diana Scultori, on the other hand, was concerned with establishing her printmaking career, assisting her family’s income and maintaining prominent connections within the Mantuan court and in Rome and Volterra once marrying. An entrepreneur, she made efforts to secure her family’s income by using her works to gain commissions for her husband Francesco Capriani’s architectural career.[1] She belongs to a select group of female artists of the Italian Renaissance, even fewer of whom were printmakers or who had reasonable success in their own lifetime. She was the first woman to have signed her own name on her prints.[2]

Two Women on a Road (1547-1612); Baillieu Library Print Collection, the University of Melbourne. Gift of Marion and David Adams 2011.
Two Women on a Road (1547-1612); Baillieu Library Print Collection, the University of Melbourne. Gift of Marion and David Adams 2011.

Born to a Mantuan printmaker, Diana learnt her skill from her father, along with her brother Adamo. This was one of the only ways women were able to gain such an artistic education and the majority of female artists during the period had been taught by their fathers. In Diana’s case, however, he had not taught her drawing and so she relied on the drawings of others for her engravings. In her early career in Mantua she primarily based her works upon drawings by Giulio Romano and later on works from connections gained through her husband, whom she married in 1575, and the papal workshops. Even when the first drawing academy begun in Rome she was not allowed to attend.[3]

Although often referred to as Diana Scultori, she never used the name, as her brother did. Instead she referred to herself as Diana Mantovana and later included Volterra, in reference to her husband and his city of origin.

The Birth of John the Baptist (1547-1612); Baillieu Library Print Collection, the University of Melbourne. Gift of Dr J. Orde Poynton 1959.
The Birth of John the Baptist (1547-1612); Baillieu Library Print Collection, the University of Melbourne. Gift of Dr J. Orde Poynton 1959.

Diana was an anomaly in Giorgio Vasari’s Lives, mentioned in his second edition published in 1568. She met and impressed Vasari at only nineteen, when he came across her whilst at the Gonzaga court seeking material for the edition. He wrote ‘To Giovanbattista Mantovano, an engraver of prints and excellent sculptor, whom we have spoken of, in the Vita of Giulio Romano and that of Marcantonio Bolognese, two sons were born, who engrave prints on copper divinely; and what is more wondrous, a daughter named Diana who also engraves very well, which is a wondrous thing; and I who saw her, a very kind and gracious young girl, and her works which are very beautiful, was astounded’.[4] Vasari noted two sons. Diana, however, only had one brother Adamo. The other is likely to have been Giorgio Ghisi who was possibly a student.[5] Though he was incorrect in this detail, it is clear Vasari was much taken by the young Diana, evidently impressed enough to include her as one of the few women featured in the text.

As an entrepreneur, Diana requested and was granted a papal privilege in 1575, after she moved to Rome with Francesco. This gave her intellectual property rights and made it a crime for someone to reproduce, copy or sell her works without permission. Thus, she was able to control their distribution and establish a prestige to attract courtly buyers, which also assisted her husband to get architectural commissions.[6]

The Holy Spirit in Glory with Angels (1578); Baillieu Library Print Collection, the University of Melbourne. Gift of Dr J. Orde Poynton 1959
The Holy Spirit in Glory with Angels (1578); Baillieu Library Print Collection, the University of Melbourne. Gift of Dr J. Orde Poynton 1959.
The Resurrection (1547-1612); Baillieu Library Print Collection, the University of Melbourne. Gift of Dr J. Orde Poynton, 1959.
The Resurrection (1547-1612); Baillieu Library Print Collection, the University of Melbourne. Gift of Dr J. Orde Poynton, 1959.

Her engravings depict a mixture of religious and secular subject matter, and examples of both are held in the university’s collection. Latona Giving Birth to Apollo and Diana on the Island of Delos, is an example of her secular works. The engraving is based on a preparatory drawing by Giulio Romano (Louvre, Paris) for a painting on the same subject (Hampton Court, London).[7] The scene from classical mythology, taken form Ovid’s Metamorphoses, a text of great inspiration for sixteenth-century artists, shows Latona, a protector of the nymphs and Jupiter’s lover, after she has given birth to twins Apollo and Diana. She has escaped to the island of Delos in fear of Juno’s jealousy. Scultori’s signature can be seen on the bottom left hand corner, which she included to emphasize the legal status of her work, along with a further inscription on the bottom right.

Latona Giving Birth to Apollo and Diana On the Island of Delos (1547-1612); Baillieu Library Print Collection, the University of Melbourne. Gift of Dr J. Orde Poynton 1959.
Latona Giving Birth to Apollo and Diana On the Island of Delos (1547-1612); Baillieu Library Print Collection, the University of Melbourne. Gift of Dr J. Orde Poynton 1959.

 

[1] Evelyn Lincoln, ‘Making a Good Impression: Diana Mantuana’s Printmaking Career’, Renaissance Quarterly, 50, no. 4 (1997), 1102.

[2] Lincoln, 1102.

[3] Lincoln, 1106, 1111.

[4] Quoted in Lincoln, 1105.

[5] Italian Women Artists: from Renaissance to Baroque, 16 March–15 July, National Museum of Women in the Arts, Washington D.C. (Italy: Skira Editore S.p.A, 2007), p. 126.

[6] Lincoln, 1118.

[7] Italian Women Artists, 132.


Alfred Plumley Derham: soldier, medic, poet, ANZAC

Geoffrey Laurenson – Professional Library Cadet
Georgina Ward – Assistant Archivist

The story of Alfred Plumley Derham is one of a young medical student who showed great steadfastness in the face of the day-to-day realities of World War One: boredom, tough living conditions, separation from loved ones, crippling injury and illness. The letters and diaries of A.P. Derham include both detailed description and poetic reflection, and give great insight into the experience of war and landing at Gallipoli. They also feature personal moments, including his engagement to Frances “Frankie” Anderson while on active service.

Studio photograph A.P. Derham on leave from France, University of Melbourne Archives, Alfred Plumley Derham collection, 1963.0024, BWP30,608
Studio photograph A.P. Derham on leave from France, 1916, University of Melbourne Archives, Alfred Plumley Derham collection, 1963.0024, BWP30,608

 

Derham was a fourth year medical student when war broke out in August 1914 and suspended his studies with the hope of enlisting.[i]  In a letter to Frances, he told her that on enquiring about joining the Army Medical Corps of the 5th Australian Infantry Division he was told that it was “full up and 4 men over”. Derham persisted, and recalled that  “by smiling sweetly however I managed to persuade them I was an invaluable addition.”[ii]  In a letter dated 16th August 1914 Frances responded to the news of Alfred’s enlistment with encouragement, but was clearly conflicted, adding “that altho’ your going will hurt me as it will hurt Ruth, I wouldn’t say – don’t go… I honestly don’t believe I am afraid of dying – or death, tho’ I find it hardest to extend this feeling to the people I love”[iii].

At this early stage of the war, Frances had already read about the events on the Continent in the newspaper, and was clearly opposed to the widespread enthusiasm and rush to join up, conscious of what it meant for the families involved “Alfred I have had to read all the war news aloud to Mrs Bromley …. now I have to wade through all the awful details and they together with the Patriotic concert, have sickened me. I can’t help thinking of the feelings  songs & martial music & bugle calls awake –  contrasted with the grim awful details of the morning paper & of the millions of wrecked homes – to think that each of these soldiers has a mother, wife and sister, is loved as you are – perhaps.”[iv]

Alfred and Frances Derham on their wedding day, 10 July 1917, University of Melbourne Archives, Alfred Plumley Derham collection, 1963.0024, BWP30,564
Alfred and Frances Derham on their wedding day, 10 July 1917, University of Melbourne Archives, Alfred Plumley Derham collection, 1963.0024, BWP30,564

After enlisting Derham was sent to Broadmeadows Camp, located just outside of Melbourne. While there, he was given duties as “orderly subaltern”. [v] The waiting took its toll and he reported being in a “state of intense boredom.”[vi] The 5th Battalion shipped out on the HMAT Orvieto (pictured) on 21 October and Derham was one of the 1,457 men and women on the ship, which represented a large portion of the Australian contribution to the war effort. [vii] The Orvieto arrived in Alexandria around 7 December 1914, described in detail by press correspondent Captain C.B.W. Bean. [viii]

"Us" marching aboard the Orvieto, 21 October 1914, University of Melbourne Archives, Alfred Plumley Derham collection, 1963.0024, BWP30,642
“Us” marching aboard the Orvieto, 21 October 1914, University of Melbourne Archives, Alfred Plumley Derham collection, 1963.0024, BWP30,642

 

Derham shaving, c. 1914, University of Melbourne Archives, Alfred Plumley Derham collection, 1963.0024, BWP30,692
Derham shaving, c.1914, University of Melbourne Archives, Alfred Plumley Derham collection, 1963.0024, BWP30,692

Bean also described the arrival of Australians at Mena Camp later that night in dramatic terms, emphasising the striking scene made by “Australians from Gumtree Flat and Dead Horse Gully, from Murwillumbah and Sea Lake and Prahran and Surry Hills, camped right amid the tombs of the Pharaohs.”[ix] As was the case at Broadmeadows, waiting at Mena Camp made Derham uneasy, who commented that “life will drive us mad with monotony before we have been here many weeks.”[x] Several months after being deployed from Broadmeadows, Derham was clearly restless when he complained “we all shall be intensely disappointed if we return without going to the front or seeing service here.”[xi]  On 5 April, the Battalion marched out of Mena Camp bound for Cairo Station “ten miles or more and quite trying on hard roads with extra heavy equipment”, and from there they took a train to Alexandria. [xii] After arriving in Alexandria, the 5th Battalion embarked on the HMAT Novian, a transatlantic cargo ship requisitioned for the war effort, bound for the island of Lemnos.[xiii] The 5th Battalion spent two weeks in Lemnos carrying out drills and practicing landing procedures before setting out for Gallipoli.

 

Route march down "Cass" Valley, c. 1914, University of Melbourne Archives, Alfred Plumley Derham collection, 1963.0024, BWP30,640
Route march down “Cass” Valley, c.1914, University of Melbourne Archives, Alfred Plumley Derham collection, 1963.0024, BWP30,640

 

Officers of 5th Battalion, Mena Camp. c January 1915, University of Melbourne Archives, Alfred Plumley Collection, 1963.0024, BWP/30,582. Alfred Derham 2nd row, 2nd from right
Officers of 5th Battalion, Mena Camp. c.January 1915, University of Melbourne Archives, Alfred Plumley Collection, 1963.0024, BWP/30,582. Alfred Derham 2nd row, 2nd from right

Derham’s time in Gallipoli was eventful, and is recounted in a memoir sent to Frances in late 1915. The memoir was written well after the fact, with a poetic detachment that often belies the danger and horrors witnessed at the landing at Gallipoli.  Showing his naivety, Derham recalled in the days leading up to the landing, while on manoeuvres around Lemnos, “see[ing] the snow capped hilltops of Samothrace and Imbros and further to the right on the far horizon the dim land near Gallipoli, the land of our adventure.”[xiv]

On the 25 April, Lieutenant Derham and his platoon landed on the beach at the southern end of ANZAC Cove, and they soon took cover against nearby cliffs. With barely time to form up his men, Derham was ordered to place his platoon with A Company and locate troops in need of reinforcement. Although Derham had been on active service since August 1914, the experience of the ‘front’ was something new to him. Derham later reflected that after the landing “I myself had got over my nervousness at that time and had not yet begun to feel the fear which knowledge brings”[xv], foreshadowing the terrifying realities of the battle to come.

The perils of the situation soon became apparent, in the form of heavy resistance from the Turkish defenders. Although a sense of danger is present in Derham’s diary, it is framed through distinctly poetic language: “It was a beautiful day – we were out of danger from shrapnel behind a hill and the rifle and machine gun bullets were singing softly and harmlessly over our heads, sailing out with the summer sea like humming bees.”[xvi] Other accounts of the landing at Gallipoli paint quite a different picture. Private Ray Williams wrote in a letter home that “it was terrible to see the boat loads of lifeless boys that got mowed down without touching shore. The gunboats kept playing their big guns on the shore forts and batteries.”[xvii] Another wrote that “the Turks did not fire a shot till we were close in shore, then the whole place became a perfect hell with rifles, machine guns, artillery, and shrapnel bursting.”[xviii]

 

Sketch of Owen's Gully and surrounds, Diary 31st Mar 1915 - 25 Apr 1915, University of Melbourne Archives, Alfred Plumley Derham Collection, 1963.0024.0002, p14.
Sketch of Owen’s Gully and surrounds, Diary 31 Mar 1915 – 25 Apr 1915, University of Melbourne Archives, Alfred Plumley Derham Collection, 1963.0024.0002, p14.

Lieutenant Derham commanded his platoon through the rough scrub and sloping  terrain toward the area that came to be known as Lone Pine. He made a sketch of this landscape showing key strategic positions including Owen’s Gully and a Turkish battery (pictured). Pushing on with the mission to reinforce troops in the firing line, Derham eventually joined with ‘C’ Company led by Major Richard Saker, another officer of the 5th Battalion,[xix] but there were “still no orders, still no firing line to reinforce, still nothing to do but lie and be fired at (badly thank heaven).”[xx]  Rather than wait for further orders, Lieutenant Derham advanced his men in two short rushes in the direction of Owens Gully. [xxi] During this movement he received word that Major Saker had been wounded.  Derham returned to Lone Pine to assist, but was hit through the left thigh by a Turkish bullet, “bringing me down like a sack of flour.” [xxii] Derham later recounted this incident in a dry, clinical manner: “I found that my whole left leg was paralysed – probably from shock to the Great Sciatic nerve. I felt it very carefully and found it was not broken as I had at first suspected so I started to crawl towards where I had last seen Major Saker – doing this power gradually returned and I was soon able to hobble along slowly and unsteadily but not painfully.”[xxiii]

It seems that Derham was not able to reach Major Saker, who later died on the battlefield at Lone Pine.[xxiv] Although wounded, Derham refused to be transferred from the battlefield until the 30 April, and his bravery and conduct during this time won him the military cross. [xxv] After recouperating from his injuries Derham resumed his service at the front, also serving in France in 1916, and returning to Australia to complete his medical studies at the University of Melbourne. During the journey back to the front in 1918, Armistice was declared.

Between the wars he worked in various medical positions around Victoria, was the director of the R.S.L. Children’s Health Bureau from its inception in 1933, as well as the Medical Officer of the City of Kew. In 1940 he left for Singapore as Assistant Director of the Medical Service, and spent time as a Prisoner of War in Changi with his eldest son Thomas during World War Two. The remarkable Alfred Plumley Derham Collection is listed and available on the UMA online catalogue http://go.unimelb.edu.au/fw9n

Frances became a key figure in arts education in Australia and was chairman of the A.I.F Women’s Auxiliary Prisoners of War Japan. Her extensive collection is also held at UMA http://go.unimelb.edu.au/4w9n

 

Medical students, Women’s Hospital Melbourne, 1917. University of Melbourne Archives, Alfred Plumley Collection, 1963.0024.0003. Alfred Plumley Derham is far left.
Medical students, Women’s Hospital Melbourne, 1917. University of Melbourne Archives, Alfred Plumley Collection, 1963.0024.00012. Alfred Plumley Derham is far left.

For more details on other collections containing World War One material refer to the subject guide available from the UMA website http://gallery.its.unimelb.edu.au/imu/imu.php?request=home


[i] A.P. Derham student record card, University of Melbourne Archives, 1991.0066, Unit 17

[ii] Letter 20/08/1914 to Frances Anderson, 1988.0061.0507, Frances Derham collection, University of Melbourne Archives

[iii] Letter to A.P. Derham, 16/08/1914, 1963.0024, A.P. Derham collection, 7/2/1/6/1, Unit 18

[iv] Letter to A.P. Derham, 1/11/1914, 1963.0024, A.P. Derham collection

[v] Letter 1/10/1914 to Frances Anderson, 1988.0061.0507, Frances Derham collection, University of Melbourne Archives, Unit 27

[vi] Letter 29/09/1914 to Frances Anderson, 1988.0061.0507, Frances Derham collection, University of Melbourne Archives, Unit 27

[viii] Australian Army the Troopships Arrive at Egypt – Greeted by Passing Ships – Night Scenes in the Canal. The Mercury, 5 January 1915, p.5

[ix] Australians in Egypt. Mena Camp Active. The Border Morning Mail and Riverina Times, Tuesday 5 January 1915, page 3

[x] Letter 14/12/14 to Frances Anderson, 1988.0061.0507, Frances Derham collection, Unit 27

[xi] Letter 14/12/14 to Frances Anderson, 1988.0061.0507, Frances Derham collection, Unit 27

[xii] Diary 31st Mar 1915 – 25 Apr 1915, 1963.0024.0002, A.P. Derham collection

[xiii] Letters from the Front. Private Ray Williams. Riverine Herald, Saturday 17 July 1915, page 3

[xiv] Diary 31st Mar 1915 – 25 Apr 1915, 1963.0024.0002, A.P. Derham collection, page 6

[xv] Diary 31st Mar 1915 – 25 Apr 1915, 1963.0024.0002, A.P. Derham collection, page 10

[xvi] Diary 31st Mar 1915 – 25 Apr 1915, 1963.0024.0002, A.P. Derham collection, page 11

[xvii] Letters from the Front. Private Ray Williams. Riverine Herald, Saturday 17 July 1915, page 3

[xviii] Letters from the Front. Gippslander and Mirboo Times 22 July 1915, p.2

[xix][xix] Australian War Memorial, Major Richard Saker. https://www.awm.gov.au/people/P10267659/#rolls-and-awards, accessed 21/04/2015

[xx] Diary 31st Mar 1915 – 25 Apr 1915, 1963.0024.0002, A.P. Derham collection, page 15

[xxi] Diary 31st Mar 1915 – 25 Apr 1915, 1963.0024.0002, A.P. Derham collection, page 16

[xxii] Diary 31st Mar 1915 – 25 Apr 1915, 1963.0024.0002, A.P. Derham collection, page 16

[xxiii] Diary 31st Mar 1915 – 25 Apr 1915, 1963.0024.0002, A.P. Derham collection, page 17

[xxiv] Australian War Memorial, Major Richard Saker. https://www.awm.gov.au/people/P10267659/#rolls-and-awards, accessed 21/04/2015

[xxv]  http://static.awm.gov.au/images/collection/pdf/RCDIG1068829–3-.pdf


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