Roll call was always the most heart-breaking duty. Name after name being called punctuated by deep silences, which would be felt despite the noise of the incessant crackling of rifles and screaming of shrapnel. This was taken the morning after the charge at Bloody Angle on Sunday night, 9 May 1915. As a signaler Ellis Silas landed on Gallipoli with the 16th Battalion, Australian Imperial Force, which was committed to constant, desperate fighting from the moment they came ashore. In those first weeks the battalion was reduced to two companies. Ellis Silas was moved to paint this picture by his recollections as a survivor in the melancholy muster, which followed the withdrawal of his company from the line.

So I'm trying to find a piece painted by my great grandfather back in world war 1. He was a kiwi serving in the Anzacs at gallipoli and the western front. He painted a specific piece while in service, a charcoal drawing of a gun battery in operation at night. from what I know the only illumination in the work comes from the guns firing , which silhouette the troops operating it. It was donated to the main body (NZ army) after his death in the 80's, and we've been trying to find it since. Also there should be some initials on it, A.D. blanks possibly, or just blanks, or his full name of Alfred Darwin Blanks if that helps.

If someone could point me in the right direction or knows someone who might know of it's location, I would very much appreciate it.

Edit: some additional information, he served in the New Zealand Field Artillery (NZFA) in the 1st brigade, 3rd battery, unit No. 13/72 if that helps in any way.

'Ballet of wind and rain' was painted in Holland late in the Second World War, in February 1945, when Colahan travelled into recently liberated regions of war-torn Europe. In this painting the artist gives the impression of the fleeting moment when four airmen, returning from night operations move across the wet and windy airfield. Leaning into the driving wind from their left, the aircrew appear as if walking in unison with synergy in motion. The artist refers to the syngeristic movement as a 'ballet of wind and rain'. The idea that a compositional 'ballet' was created through the colour, movement and atmospheric effects underpins Colahan's title for the work which is in homage to James McNeill Whistler's use of musical terms in the titles of his works of art, such as 'symphony', 'arrangement' and 'harmony'.

External view of a gunner in the rear turret of a Halifax bomber. This is a Boulton Paul Type E turret with four 0.303 inch machine guns. Notably, many rear gunners removed the Perspex panels before their faces for better visibility at the expense of exposure to the bitter cold at altitude.

The high point of the New Zealand effort at Gallipoli, the capture of Chunuk Bair underlined the leadership qualities of Lieutenant-Colonel William Malone.

Two columns of the New Zealand Infantry Brigade carried out the attack, which began on 6 August. The operation started well, but delays meant not all the infantrymen had reached Rhododendron Spur by the time the assault on the summit started next morning. After the Auckland Battalion tried and failed, Malone insisted that the Wellingtons’ attack should be delayed until after nightfall.

The Wellington Battalion occupied the summit before dawn on 8 August. With sunrise came a barrage of fire from Ottoman Turks holding higher ground to the north. A desperate struggle to hold Chunuk Bair ensued. By the time the Wellingtons were relieved that evening, only 70 of the battalion’s 760 men were still standing. Malone was one of the casualties, killed by an Allied shell about 5 p.m

With British, Dutch and American ships she took part in the Battle of the Java Sea - costly action which preceded the Japanese invasion of Java on the night of 28 February to 1 March 1942. The Perth and the USS Houston, attempted to make passage southwards through the Sunda Strait, but encountered a large enemy fleet in Bantam Bay. Both cruisers were sunk by gunfire and torpedoes in the fierce fight which ensued, but not before inflicting considerable damage to the enemy. Perth lost 350 officers and men including her commander, Captain H.M.L Waller, DSO

Citation Flight Sergeant Middleton was captain and first pilot of a Stirling aircraft detailed to attack the Fiat Works at Turin one night in November, 1942. Great difficulty was experienced in climbing to 12,000 feet to cross the Alps, which led to excessive consumption of fuel. So dark was the night that the mountain peaks were almost invisible. During the crossing Flight Sergeant Middleton had to decide whether to proceed or turn back, there being barely sufficient fuel for the return journey. Flares were sighted ahead and he continued the mission and even dived to 2,000 feet to identify the target, despite the difficulty of regaining height. Three flights were made over Turin at this low altitude before the target was identified. The aircraft was then subjected to fire from light anti-aircraft guns. A large hole appeared in the port main plane which made it difficult to maintain lateral control. A shell then burst in the cockpit, shattering the windscreen and wounding both pilots. A piece of shell splinter tore into the side of Flight Sergeant Middleton’s face, destroying his right eye and exposing the bone over the eye. He was probably wounded also in the body or legs. The second pilot received wounds in the head and both legs which bled profusely. The wireless operator was also wounded in the leg. Flight Sergeant Middleton became unconscious and the aircraft dived to 800 feet before control was regained by the second pilot, who took the aircraft up to 1500 feet and released the bombs. There was still light flak, some very intense, and the aircraft was hit many times. The three gunners replied continuously until the rear turret was put out of action. Flight Sergeant Middleton had now recovered consciousness and, when clear of the target, ordered the second pilot back to receive first aid. Before this was completed the latter insisted on returning to the cockpit, as the captain could see very little and could only speak with loss of blood and great pain. Course was set for base and the crew now faced an Alpine crossing and a homeward flight in a damaged aircraft with insufficient fuel. The possibilities of abandoning the aircraft or landing in Northern France were discussed but Flight Sergeant Middleton expressed the intention of trying to make the English coast, so that his crew could leave the aircraft by parachute. Owing to his wounds and diminishing strength, he knew that, by then, he would have little or no chance of saving himself. After four hours, the French coast was reached and here the aircraft, flying at 6,000 feet, was once more engaged and hit by intense light anti-aircraft fire. Flight Sergeant Middleton was still at the controls and mustered sufficient strength to take evasive action. After crossing the Channel there was only sufficient fuel for 5 minutes flying. Flight Sergeant Middleton ordered the crew to abandon the aircraft while he flew parallel with the coast for a few miles, after which he intended to head out to sea. Five of the crew left the aircraft safely, while two remained to assist Flight Sergeant Middleton. The aircraft crashed in the sea and the bodies of the front gunner and flight engineer were recovered the following day. Their gallant captain was apparently unable to leave the aircraft and his body has not been traced. Flight Sergeant Middleton was determined to attack the target regardless of the consequences and not to allow his crew to fall into enemy hands. While all the crew displayed heroism of a high order, the urge to do so came from Flight Sergeant Middleton, whose fortitude and strength of will made possible the completion of the mission. His devotion to duty in the face of overwhelming odds is unsurpassed in the annals of the Royal Air Force.