PRINT, LORD'S PRAYER AND TEN COMMANDMENTS - FRAMED

The print was first produced in 1883. This framed print was purchased at an auction by the Lemmey family in the 1930s. It was displayed in their home at 13 Third Road, Armadale for around 30 years before being donated to the museum in 1996. The print uses a 1611 King James version of the Lords Prayer associated with the Church of England.
Lorna Rose Beazley was born on 16 October 1921 in Northam, Western Australia, to Ivan Lance and Ivy Mary Anne Beazley. Growing up in regional Western Australia during the interwar years, her life, like that of her generation, was shaped by the Second World War.
On 15 March 1942, at age 20, Lorna enlisted in the Australian Women’s Army Service (AWAS) in Perth (Service No. W45393). As a Private, she joined the pioneering corps of women whose contributions supported the military and home front during a time of national uncertainty. During the war, she met Mervyn John Lemmey, born in 1919, who had enlisted in the Australian Military Forces in April 1941 (Service No. WX34036). Their shared experiences led to marriage and a life together in Western Australia.
Following the war, Lorna and Mervyn focused on family and community life. Electoral records trace their postwar movements: Mundaring Weir in 1949, Dowerin and Mundaring in 1954, and settled in Mundaring by 1958, where Lorna undertook home duties. From the late 1960s, they moved to 38 Prospect Road, Armadale, living there for over two decades.
Mervyn passed away on 16 September 1994 and was buried at Mundaring Cemetery. Lorna lived another 16 years, passing on 7 March 2010, and was laid to rest beside him.
Lorna’s life reflects service, resilience, and quiet contribution—from her wartime enlistment to decades as a homemaker and community member. Her story, and her burial alongside Mervyn, marks a life deeply rooted in Western Australia, emblematic of her generation’s experiences.
This framed piece is a Victorian-era decorative print of the Lord’s Prayer (Matthew 6:9–13, King James Bible) featuring ornate lettering and vivid chromolithograph floral borders. Surrounding the central text are small circular vignettes illustrating biblical scenes or symbolic imagery corresponding to the prayer, including Jesus as the Good Shepherd at the top and depictions of teaching, forgiveness, and temptation along the sides and bottom. Likely produced in the late 19th century, such prints were common in Christian homes, serving both devotional and decorative purposes as moral reminders. If original, the piece holds historical and collectible value, appealing to enthusiasts of Victorian religious art and ephemera. Its combination of artistry, spiritual significance, and period style exemplifies the era’s approach to religious decoration, making it both a visually striking and culturally meaningful artifact.