Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series documents a historical re-enactment held on Churchill Island in 2007.Photograph of a small group of people dressed in nineteenth century costumes walking along a path amongst the scrub.CHURCHILL IS/2007 [handwritten on reverse in pen] RE-ENACTMENT/DONOR/PHOTOS CARROLL RYAN [handwritten on reverse in pen] Catalogue number written on reverse in pencil.churchill island, photograph, fountain

As part of the National Trust's Australian Heritage Festival 2021, the Kew Historical Society and the Villa Alba Museum collaborated to mount a fashion and design exhibition. The theme of the exhibition took its focus from the year-long program at the Museum featuring the use of flowers in design. The walls and ceilings of the house are notable for their use of floral and narrative painted decoration produced, in the early 1880s, for William and Anna Maria Greenlaw by the Melbourne art decoration firm the Paterson Brothers. The examples of fashion and design from the collection of the Kew Historical Society were located on the ground floor of the house: in the drawing room, dining room, morning room and in the vestibule, or ballroom as it was sometimes described in nineteenth century newspapers. The exhibition was supported by the City of Boroondara through Triennial Operational Grant funding for the Kew Historical Society and the Villa Alba Museum.Series of photographs of exhibition pieces in situ at the Villa Alba Museum in May 2021.fashion & design, exhibitions -- kew historical society, exhibitions --- villa alba museum, textiles in bloom, fashion - nineteenth century, fashion -- twentieth century, textiles - nineteenth century, headwear -- twentieth century

The Kew Historical Society holds a nationally significant Fashion & Design collection. In 2023 this collection was augmented by a donation by descendants of Francis Henty of nineteenth and early twentieth century costumes and costume accessories. These rare and aesthetically significant acquisitions increased the importance of the nineteenth century costume collection held by the Society. Following their accession, the Henty costumes were exhibited with other notable examples of fashion and design, previously donated by descendants of the Coombs and Weir families.28 x Exhibition photos of Fashion in the Age of Elegance 1840-1900, held at Villa Alba Museum during the 2023 Australian Heritage Festival. The exhibition showcased items drawn from the Henty, Coombs and Weir Collections.fashion -- nineteenth century, exhibitions -- kew historical society, henty collection, coombs collection, weir collection

The Kew Historical Society holds a nationally significant Fashion & Design collection. In 2023 this collection was augmented by a donation by descendants of Francis Henty of nineteenth and early twentieth century costumes and costume accessories. These rare and aesthetically significant acquisitions increased the importance of the nineteenth century costume collection held by the Society. Following their accession, the Henty costumes were exhibited with other notable examples of fashion and design, previously donated by descendants of the Coombs and Weir families.7 x Photos of the opening night of Fashion in the Age of Elegance 1840-1900, held at Villa Alba Museum during the 2023 Australian Heritage Festival. The exhibition showcased items drawn from the Henty, Coombs and Weir Collections. Guests included members of Kew Historical Society, Villa Alba Museum, Heidelberg Historical Society, Royal Historical Society of Victoria, Museums Victoria, City of Boroondara, and National Gallery of Victoria. fashion -- nineteenth century, exhibitions -- kew historical society, henty collection, coombs collection, weir collection

Linoleum was introduced in the late nineteenth century and the examples at Hymettus include this original early twentieth century hall runner. While other examples in the house date to the 1940s his example from much earlier is a rare survivor of its type and vintage. It was a popular product of its time reproducing the look of encaustic tiles as were found in wealthier homes.linoleum, nineteenth century, wealth, hymettus, encaustic tiles.

Churchill Island Heritage Farm has a large photograph collection dating from the mid-nineteenth century to the last decade.This series of photographs were taken in the late 1890s and show scenes from around the island while it was owned by Samuel Amess and his family.Black and White photograph taken from the late nineteenth century showing three men reclining with a dog in a paddock on Churchill Island with the shoreline and mudflats in the background.Catalogue number written on reverse in pencil. Written on reverse in pencil 'Department of Agriculture' Stamp on reverse 'Photograph by Information Branch Victorian Dept. of Agriculture Ref. No 1978(541-28)churchill island, amess house

Churchill Island Heritage Farm has a large photograph collection dating from the mid-nineteenth century to the last decade.This series of photographs were taken in the late 1890s and show scenes from around the island while it was owned by Samuel Amess and his family.Black and white reprint of a photograph from the late nineteenth century showing three men posing in an orchard. One man is on a ladder, and the other two are gesturing at the tree.Catalogue number written on reverse in pencil. Written on reverse in pencil 'Department of Agriculture' Stamp on reverse 'Photograph by Information Branch Victorian Dept. of Agriculture Ref. No 1978(541-27)churchill island, amess house

Churchill Island Heritage Farm has a large photograph collection dating from the mid-nineteenth century to the last decade.This series of photographs were taken in the late 1890s and show scenes from around the island while it was owned by Samuel Amess and his family.Black and white reprint of a photograph from the late nineteenth century showing two boats resting on the river floor at low tide. A man sits in the rear of the second boat.Catalogue number written in pencil on reverse. amess house, samuel amess, churchill island, photograph

Churchill Island Heritage Farm has a large photograph collection dating from the mid-nineteenth century to the last decade.This series of photographs were taken in the late 1890s and show scenes from around the island while it was owned by Samuel Amess and his family.Black and white reprint of a photograph from the late nineteenth century showing two boats resting on the river floor at low tide. A man sits in the rear of the second boat.Catalogue number written on reverse in pencil. Written on reverse in pencil 'Department of Agriculture' Stamp on reverse 'Photograph by Information Branch Victorian Dept. of Agriculture Ref. No 1978(541-26)churchill island, amess house

Wilfred Clarence Busse was born in Chiltern, Victoria in 1898. His family first arrived in this region during the gold rush era, purchasing a piece of land adjacent to the Murray River. The spectacular scenery and rich history of the area is said to have inspired Busse in his writing. He attended Wesley College in his school days, before going on to study law at the University of Melbourne. After graduating from university, Busse would go on to become a barrister, but he is best known as a writer of fiction, publishing two novels: 'The Blue Beyond: A Romance of the Early Days in South Eastern Australia' and 'The Golden Plague: A Romance in the Early Fifties'. Busse died in 1960. This particular object was owned by Busse. It is a tie pin and, as inscribed on its box, it was manufactured by Stewart Dawson and Co, a successful jewellery company - founded in Sydney in the late nineteenth century - that is still active today. This object is significant as it was owned by Wilfred Clarence Busse, an accomplished barrister and writer from Chiltern, Victoria. It was also manufactured by Stewart Dawson and Co, a successful jewellery company, founded in the nineteenth century, that is still active today. A thin, curved, gold-coloured tie pin placed inside an open velvet-lined jewellery box. Inscribed beneath the lid are the words 'Stewart Dawson and Co. / Watch Manufacturers / and Jewellers / Sydney & London.Box open: Stewart Dawson and Co. / Watch Manufacturers / and Jewellers / Sydney & London w.c. busse, wilfred clarence busse, gold rush, gold rush chiltern, busse barrister, busse author, "the golden plague: a romance of the early fifties., "the golden plague”, "the blue beyond: a romance of the early days in south eastern australia", "the blue beyond", tie pin, jewellery, jewellery manufacturers, sydney jewellers nineteenth century, stewart dawson and co

Churchill Island has a significant photograph collection dating from the nineteenth century.Black and white photograph of two men posing for the camera, each holding the horses bridle. One is coupled to a two wheeled cart. Photo has been taken from near the homestead and looks down towards the Eastern side of Churchill Island. Probably taken in the nineteenth century.Catalogue number written in pencil on reverse. 'Department of Agriculture' written in pencil on reverse. Stamped on rear 'Photograph by Information Branch Victorian Dept. of Agriculture Ref. No 1978(541-9)'churchill island

From the collection of the Rev James Watkin. From the collection of the Rev James Watkin. The Rev James Watkin, 1805-1886, was a Pioneer Wesleyan missionary. He was born in Manchester, UK, in 1805. In 1830 was accepted as a candidate for the Wesleyan Ministry and married Hannah Entwistle. They sailed with a missionary party to Tonga. The work of the mission was jeopardised by prolonged and involved struggles between Christian and non-Christian Tongan chiefs. He left with his family for Sydney in September 1837. He was offered a free passage for a missionary appointed to Waikouaiti, New Zealand and arrived there in May 1840. He established the first mission station in the South Island of New Zealand. Watkin established schools at Waikouaiti and Matanaka, and stationed partly trained Maori teachers at Stewart Island and at Moeraki. He had a natural flair for languages, preached in Maori four months after his arrival, and compiled an elementary reading book to be printed in Ngai Tahu. Watkin was relieved by Charles Creed and inWatkin finished his posiion in Waikouaiti in June 1844 when he sailed for Wellington, leaving 227 church members in Otago. In 1855 Watkin settled in New South Wales, Australia, and was president of the National Methodist Conference at Adelaide in 1862. He retired in 1869 and died on 14 May 1886, at Ashfield, New South Wales. Source: https://teara.govt.nz/en/1966/watkin-jamesMid nineteenth century wooden comb from Pacific Islands.rev james watkin

Churchill Island Heritage Farm has a large photograph collection dating from the mid-nineteenth century to the last decade.This series of photographs were taken in the late 1890s and show scenes from around the island while it was owned by Samuel Amess and his family.Black and white reprint of a photograph from the late nineteenth century showing two men resting in a paddock with a line of trees dividing the field from the water. One man is reclining on the grass while another stands.Catalogue number written in pencil on reverse. amess house, samuel amess, churchill island, photograph, cannon

Churchill Island Heritage Farm has a large photograph collection dating from the mid-nineteenth century to the last decade.This series of photographs were taken in the late 1890s and show scenes from around the island while it was owned by Samuel Amess and his family.Black and White photograph taken from the late nineteenth century showing groups of people standing out the front of Amess House. There is a covered cannon on the right hand side of the frame and an immature Norfolk Pine in the background. Catalogue number written on reverse in pencil. Written on reverse in pencil 'Department of Agriculture' Stamp on reverse 'Photograph by Information Branch Victorian Dept. of Agriculture Ref. No 1978(541-24)samuel amess, churchill island, amess house, norfolk pine, cannon

This image shows a pathway in the gardens adjacent to Beechworth's Town Hall at the beginning of the Twentieth Century, around the time of Australia's Federation. The pathway leading to a circular rotunda or covered seating area with a steep conical roof is lined with shrubs set in grass verges that appear to be covered with snow. It is unknown whether the snowfall or a factor to do with the gardens occasioned the taking of the image, which at the time may have been an exotic practice. Climate records going back to 1908 indicate that snow in winter is not unusual due to Beechworth's elevation and orientation, and the Town Hall itself was built in 1859. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques. This glass slide is significant because it provides insight into Beechworth's social amenities and climate in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, town hall, town hall gardens, snow, rotunda, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides

Churchill Island Heritage Farm has a large photograph collection dating from the mid-nineteenth century to the last decade.This series of photographs were taken in the late 1890s and show scenes from around the island while it was owned by Samuel Amess and his family.Black and white reprint of a photograph from the late nineteenth century showing a man moving the cannon and a women gardening. The photograph has been taken across the garden and shows Amess House and an immature Norfolk Pine in the background.Catalogue number written in pencil on reverse. amess house, samuel amess, churchill island, photograph, cannon

This image of a man on horseback is thought to have been taken in Beechworth in approximately 1900. The man pictured may be Chinese. Chinese miners were a significant cultural group in Beechworth's gold rush period. Carole Woods' history of Beechworth, 'A Titan's Field', details a rapid increase in the Chinese population beginning in 1856 that led to Government discrimination and hostility from other miners. Many Chinese people who came to the Victorian goldfields had formerly worked as merchants, mechanics, farmers and shop-keepers. The pictured individual is wearing Western-style clothes indicating prosperity, such as a top hat, so may have held an official position or provided services to the community rather than working as a miner. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's cultural and social relationships in the early Twentieth Century, in particular the experiences of Chinese people. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, chinese, chinese miners, immigration, racism, classism, social groups, cultural groups, horse riding, horses, equestrian, horseback

Churchill Island Heritage Farm has a large photograph collection dating from the mid-nineteenth century to the last decade.This series of photographs were taken in the late 1890s and show scenes from around the island while it was owned by Samuel Amess and his family.Black and white reprint of a photograph from the late nineteenth century showing two men resting in a paddock with a line of trees dividing the field from the water. One man is reclining on the grass while another stands. Copy of 0658.3Catalogue number written in pencil on reverse. 'VICTORIAN DEPT OF AGRICULTURE' written in pencil on reverse Stamp on reverse: 'Photograph by Information Branch Victorian Dept. of Agriculture Ref. No 1978(541-8)'amess house, churchill island, samuel amess, moonahs

From the collection of the Rev James Watkin. From the collection of the Rev James Watkin. The Rev James Watkin, 1805-1886, was a Pioneer Wesleyan missionary. He was born in Manchester, UK, in 1805. In 1830 was accepted as a candidate for the Wesleyan Ministry and married Hannah Entwistle. They sailed with a missionary party to Tonga. The work of the mission was jeopardised by prolonged and involved struggles between Christian and non-Christian Tongan chiefs. He left with his family for Sydney in September 1837. He was offered a free passage for a missionary appointed to Waikouaiti, New Zealand and arrived there in May 1840. He established the first mission station in the South Island of New Zealand. Watkin established schools at Waikouaiti and Matanaka, and stationed partly trained Maori teachers at Stewart Island and at Moeraki. He had a natural flair for languages, preached in Maori four months after his arrival, and compiled an elementary reading book to be printed in Ngai Tahu. Watkin was relieved by Charles Creed and inWatkin finished his posiion in Waikouaiti in June 1844 when he sailed for Wellington, leaving 227 church members in Otago. In 1855 Watkin settled in New South Wales, Australia, and was president of the National Methodist Conference at Adelaide in 1862. He retired in 1869 and died on 14 May 1886, at Ashfield, New South Wales. Source: https://teara.govt.nz/en/1966/watkin-jamesETH072.1 and ETH072.2: Mid nineteenth century woven palm fans with handles.rev james watkin

Churchill Island Heritage Farm has a large photograph collection dating from the mid-nineteenth century to the last decade.This series of photographs were taken in the late 1890s and show scenes from around the island while it was owned by Samuel Amess and his family.Black and white reprint of a photograph from the late nineteenth century showing a man moving the cannon and a women gardening. The photograph has been taken across the garden and shows Amess House and an immature Norfolk Pine in the background. Matches 0658.2Catalogue number written on reverse in pencil. Written in pencil on reverse 'Dept of Agriculture' Stamp on reverse 'Photograph by Information Branch Victorian Dept. of Agriculture Ref. No 1978(541-16)amess house, churchill island, samuel amess, cannon

This glass slide captures the unveiling of the two cannons at Queen Victoria Park which were secured by Sir Isaac Isaacs and presented to Beechworth in 1901. In the foreground, elegantly dressed ladies and dapper gentlemen can be seen gathering around the park's iconic rock, with excited children looking on from the sides. Atop of the rock stands an intricately designed gas lamp that has since been removed but evidence of its existence still remains. The unveiling of these two cannons would have been a celebratory affair for those in attendance, marking a momentous occasion for Beechworth residents that was captured in this lantern slide. Sir Isaac Isaacs was an influential figure in Beechworth, having grown up and studied there. He began his education at the Common school and eventually graduated as dux of the Beechworth Grammar School. His commitment to public service was evident early on and he was elected to the Legislative Assembly in 1892, representing Bogong, a district which included Yackandandah and Beechworth. During his time in office he pushed for better education, healthcare, employment opportunities and housing for the people of Beechworth. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide captures social and historical significance as it represents a moment of celebration for Beechworth residents and symbolises an important milestone in the town's history. This lantern slide stands testament to a special moment in Beechworth’s history and its significance continues to be remembered today. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide. burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, queen victoria park, rock, victoria, cannons, isaac isaacs, governor-general, politicians, judges, indigo shire, north-east victoria, 19th century, nineteenth century, parks

This image appears to show nurses at what is now the Mayday Hills Mental Asylum arriving for work in approximately 1900. These individuals are part of a long history of nursing in Beechworth. Three medical or social welfare facilities opened in the mid-1800s as part of a push by the township to become a regional centre for Government services. These were the Ovens District Hospital (opened in 1857), the Ovens Benevolent Asylum (opened in 1863), and the Beechworth Mental Hospital (opened in 1867 and renamed Mayday Hills Hospital at Centenary celebrations in 1967). It was recognised that the unsettled living conditions, poverty and relative isolation of the Goldfields environment could produce 'mental disturbances' which required local treatment facilities as services in Melbourne were too far away. Carole Woods' publication 'A Titan's Field' describes activities undertaken by patients at Beechworth Mental Hospital as including monthly balls and occasional concerts as well as work to make the facility self-supporting such as farm work and making clothes. She mentions a report in 1870 that the approximately 300 patients were clean and neat with 'no-one in restraint or seclusion' but that by 1905 the organisation had 623 patients which placed strain on building infrastructure such as heating and water supplies, leading to high turnover of nurses and other issues. A program of building works to extend and improve facilities followed over subsequent decades. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques This glass slide is significant because it provides insight into Beechworth's social and medical amenities in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a rectangular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: i /burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, nursing, nurses, mental hospitals, lunatic asylums, asylums, social services, social welfare, insane asylums, mental health, infrastructure

This image appears to show nurses at what is now the Mayday Hills Mental Asylum in approximately 1900. These individuals are part of a long history of nursing in Beechworth. Three medical or social welfare facilities opened in the mid-1800s as part of a push by the township to become a regional centre for Government services. These were the Ovens District Hospital (opened in 1857), the Ovens Benevolent Asylum (opened in 1863), and the Beechworth Mental Hospital (opened in 1867 and renamed Mayday Hills Hospital at Centenary celebrations in 1967). It was recognised that the unsettled living conditions, poverty and relative isolation of the Goldfields environment could produce 'mental disturbances' which required local treatment facilities as services in Melbourne were too far away. Carole Woods' publication 'A Titan's Field' describes activities undertaken by patients at Beechworth Mental Hospital as including monthly balls and occasional concerts as well as work to make the facility self-supporting such as farm work and making clothes. She mentions a report in 1870 that the approximately 300 patients were clean and neat with 'no-one in restraint or seclusion' but that by 1905 the organisation had 623 patients which placed strain on building infrastructure such as heating and water supplies, leading to high turnover of nurses and other issues. A program of building works to extend and improve facilities followed over subsequent decades. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's social and medical amenities in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, nursing, nurses, mental hospitals, lunatic asylums, asylums, social services, social welfare, insane asylums, mental health, infrastructure

This image shows six older Chinese men standing in a row with two younger non-Chinese men outside a small wooden business or official building in the Beechworth region, circa 1900. The two non-Chinese men are wearing clothes of the period that indicate relative prosperity (such as three piece suits, top hats, and a pocket handkerchief), whereas most of the Chinese men are wearing Western-style working clothes of the era. One Chinese man at the far right of the image is wearing similar garments to the non-Chinese men, including a bowler hat and longer, more tailored suit jacket. Chinese miners were a significant cultural group in Beechworth's gold rush period. Carole Woods' history of Beechworth, 'A Titan's Field', details that there were approximately 60 Chinese people in the area in 1855, more than 1000 in 1856 and 4700 (a quarter of the population) in 1857, despite the introduction in 1855 of official policies such as additional taxes formulated by the Victorian Government to limit access by Chinese immigrants. Most Chinese miners in the region came from southern China and had formerly worked as merchants, mechanics, farmers and shop-keepers. Chinese people were subjected to a 'protectorate' system, ostensibly to minimise the potential for conflict with other groups; this system required Chinese people to live in designated 'hygienic' camps with paid Chinese headmen who supervised the village and enforced the protectorate's rules. Chinese people were required to purchase an annual protection ticket to fund this system. The protectorate system was abolished in 1861, before this image was taken in approximately 1900, but it may still provide insight into social stratification or relationships between and within cultural groups in Beechworth resulting from such practices. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's cultural and social relationships in the early Twentieth Century, in particular the experiences of Chinese miners. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, chinese, chinese miners, protectorate system, protection licence, immigration, racism, classism, social groups, cultural groups, taxes, hygiene camps

This book presents a rich picture of a nation in the making. The negative aspects of Australian immigration are not glossed over and it looks at the terrible consequences for the Aboriginal people, the nineteenth century Chinese experience and the migrant hostel riots of 1952, among its many other topics. Michael Dugan lived locally in Surrey Hills. This book was commissioned by/for: Australian Institute of Multicultural Affairs.The book has a place in this collection by virtue of Michael Dugan having been a local resident.This book presents a rich picture of a nation in the making. The negative aspects of Austaralian immigration are not glossed over and it looks at the terrible consequences for the Aboriginal people, the nineteenth century Chinese experience and the migrant hostel riots of 1952, among its many other topics.Surrey Hills History(mr) michael dugan, (mr) josef szwarc, immigration, social interaction, social life and customs, ethnic communties, multiculturalism, history - australia