The Australian War Memorial Collection. Test site
The AIF Studio at St. John's Wood, showing three of the official artists. Lieutenant (Lt) G C Benson (standing, left) engaged on a large panoramic view of Gallipoli titled 'Anzac looking south', and Lt F R Crozier (upstairs) employed on a painting of a shell shattered wood on the Somme. At right is a painting titled 8th August 1918, in the course of completion by Captain W Longstaff. Lt J F Scott also works at this studio. The hanging light shade depicts a drawing of two kangaroos.
The Battle of 8 August 1918, showing the Australian Artillery moving forward from Villers-Bretonneux. Horse drawn artillery and tanks, at right is a a British Mark V tank, can be seen moving forward.
Depicts a panoramic view of the battlefield and general view of Anzac area at Gallipoli, looking south. Benson did reconnaissance sketches for the First Division on the Gallipoli Peninsula from April
Portrait of Official War Artist William Frederick (Will) Longstaff in civillian dress. Longstaff served in both the Boer War and First World War, enlisting with the 1st Australian Remount Unit in Octo
Depicts a group of Australian soldiers, and one American soldier, standing in front of dugouts near Villers Bretonneux in France, during the First World War. This painting was previously titled 'Group
This large painting was completed in Scott's studio at St John's Wood, London in 1919 refers to a battle on the Somme in 1918. In the foreground a runner is depicted in muddy terain with soldiers behi
Watercolour sketch depicting engineers erecting a pontoon bridge across the River Somme near the village of Corbie. James Fraser Scott's (1877- 1932) official war art is particularly informative, both
Depicts a panoramic view of the battlefield and general view of Anzac area at Gallipoli, looking south. Benson did reconnaissance sketches for the First Division on the Gallipoli Peninsula from April
Depicts Australian soldiers and horses carrying ammunition carts through the snow, on their way to the Somme in late Autumn, 1916. On the right edge of the painting is the remains of a wood; inside th
