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matching male portrait.
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Stawell Historical Society Inc
Photograph, Stawell Fire Brigade, First Hose Six Team group portrait who won at Warrnambool Demonstration1905
Group Portrait of Stawell Fire Brigade First Hose Six Team Warrnambool 1905 FramedSepia photograph in a mount. Six males dressed in uniform, four at the back and two at the front. The two men at the front are seated on cane chairs, beside a table covered with a cloth. A silver tray (trophy) rests on the table.Stawell Fire Brigade FIRST HOSE SIX Warrnambool Demonstration 1905 Writing on the back is illegiblestawell, fire brigade -
Stawell Historical Society Inc
Photograph, Stawell Fire Brigade 1955, 1955
Group Portrait of Stawell Fire Brigade Members in Dress Uniform 1955 Framed: Back Row: (L to R) E. Walsh, E. Dickens, A. Smith, J. Miatke, A. Oliver, J.Hall, H. Dunn, C. Prosser, A. Parsons. Centre Row: J. Grainger, C. Richardson, F. Crouch, H. Chapman, R. Maddocks, R. Ledgar, A. Dunn, K. Floyd. Front Row: R. Phillips, S. WHelan, F.Court, G. Huse, R.Chapman, P. Fenwick, I. O'Neil, R. Rickard B.Thompson.B/W Photo: Three rows of males in dress uniforms; mix of navy and red uniforms with caps: Backrow standing in front of curtain and end wall, remaining two rows seatedStawell Fire Brigade 1955 Chapman's Studios Stawellstawell -
Stawell Historical Society Inc
Photograph, One female and three males -- Studio Portrait
... grampians Studio Portrait of One female and three males. Stawell One ...Studio Portrait of One female and three males.stawell -
Stawell Historical Society Inc
Photograph, To Mr A. W. Glencross Esquire's Illuminated Address 1909
... of Illuminated Address. In the design an oval portrait photo of a male.... In the design an oval portrait photo of a male. A printed proforma ...A. W. Glencross Esq. Illuminated Address 1909. Richardson Valley Railway League. Small image of Marnoo Railway Station.B/W Photo.:3 oval landscape inset photos across the top of Illuminated Address. In the design an oval portrait photo of a male. A printed proforma letter format. Bottom left landscape photo.Marnoo Victoria . Oct. 15th 1909. Dear Sir, The Richardson Valley Railway League upon its disbanding wish to the very excellent work done by you in bringing our efforts to a at issue. As Hon. Secretary to the League since its inception you have been assiduous and we tender to you our sincere thanks and that the success of our endeavours is in no small measure due to the able, intelligent and unselfish manner in which you have carried out the many duties pertaining to the position. As a small token of our appreciation we respectfully ask you to accept this address. On behalf of the League and it's supporters we wish you every success and beg to subscribe ourselves Yours faithfullymarnoo -
Stawell Historical Society Inc
Photograph, Primitive Methodist Christian Endeavour July 1901 -- Studio Portrait, Feb 1st 1992
Primitive Methodist Christian Endeavour Group July 1901. Photo taken in Stawell by Stawell Photographic Company. Mrs R. Gray would be Mary Gray. Back Row: L-R J. Anyon W.A.Perry (vice-president) W. Hambly, G. Smith, Miss V. Willoughby Second Row: L-R Miss L. Crawford, (Secretary) Miss M Schnieder, Miss Matthews Miss M. Hambly, Miss B. Fletcher, Mis B. Yates, Miss E. Bunting Miss B. Dickie, Miss B. Hambly Miss W. Matthews, Mr Gillams. Third row: L-R Miss. L. Corrie, Mrs Corrie, Mrs Jenkinson, Mrs McDonald Mrs McRae, Rev. L.T. Copeland (President) Mrs Russelll, Miss L. Goldsworthy Miss L. Beard Miss Bell Sumner Miss S.GillamsBlack and white photograph of a group of males and females, Taken in the studio of Stawell Photographic Company, 1901 Primitive Methodist Christian Endeavour group.July 1901 Primitive Methodist Christian Endeavour Stawell Photographic Co. Close Railway Station C. Hewitt Manager Mrs R. Gray Wakeham St Stawellreligion -
Stawell Historical Society Inc
Photograph, Wesleyan Church Choir 1899 -- Studio Portrait
Wesleyan Church Choir taken in August 1899 by Herbert's Studio Stawell.Black and white photograph of a group of 12 females plus one male seated centre front. Taken in Herbert's Studios Stawell.Taken August 1899 Wesleyan Group Mrs. R. Gray Wakeham St Stawell Herbert's Studios Stawell Methodist Church Choir Matilda Miller need Hanes in front. Daughter of John and Martha Hanes nee Hall. Deep Lead. Born 1879. Died W.A. 1958 Mrs Richard Herbert Miller/\wesleyan, religion, choir -
Stawell Historical Society Inc
Photograph, Mr Colin Campbell Heron reclining in chair
Male Colin Campbell Heron reclining in chair reading with lady overlooking and cat.stawell portrait -
National Wool Museum
Photograph - 02 Wilkin, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 03 Wendy, Nicole Marie, Women In Wool - Photographic Collection
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 04 Katelynn, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke KeoghVirtual Imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 05 Chloe, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 06 Tilly, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 07 Panels, Nicole Marie, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
National Wool Museum
Photograph - 08 Pinhole, Women In Wool - Photographic Collection, 2018
National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie -
Federation University Art Collection
Drawing - Artwork, Heng, Euan, Head I (Male) by Euan Heng, 1997
Euan HENG (1945- ) Born Oban, Argleshire, Scotland Arrived Australia 1977 Euan Heng undertook a Diploma of Art at Duncan of Jordanstone College of Art, Dundee, Scotland in 1974, with a Post Diploma of Art the following year. In 1995 he completed a Master of Arts (research) at RMIT. He is proficient in many artforms, especially painting, printmaking, drawing and sculpture. As Head of Printmaking at Monash University Churchill Campus (now Federation University Gippsland) for 14 years Euan Heng was influential in the development of many Gippsland artists. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed drawing of a male head.art, artwork, euan heng, portrait, drawing, available -
Federation University Art Collection
Painting, Garth Horsfield, Defiant Man by Garth Horsfield, 2021
... alumni garth horsfield portrait masculinity male men available ...My practice questions the definition of masculinity, from the position that there is more to the story than the mainstream narrative. My subjects consist of aesthetic beings seen through the lens of the classical principles of shape and form such as danseurs, youths, other ages and shapes. Sometiimes I have exculded faces to emphasize the interesting dynamic line unique to the male shape. Any symbols of sexual politics have been omitted, to concentrate on how the concept of maculinity pays alongside modern notions of beauty. Garth HORSFEILD (19 June 1970 - ) Born Ballarat, Victoria Returning to study after a partially completed degree and pursuing art and music, Garth Horsfield returned to the Federation University Arts Academy where he completed a Bachelor of Visual Arts in 2021. Portrait of a young man.dvc art award, alumni, garth horsfield, portrait, masculinity, male, men, available -
Federation University Art Collection
Work on paper - Etching, Graeme Drendel, 'The Ballad of Dr Scabie' by Graeme Drendel
Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching of a male doctor or surgeon. graeme drendel, printmaking, doctor, surgeon -
Port Fairy Historical Society Museum and Archives
Photograph
David Esler McLellan Mayor of Port Fairy 1911,1914Black & white portrait of a bald headed male with a moustache david esler mclellan, mayor, port fairy, councillor -
Port Fairy Historical Society Museum and Archives
Photograph, Cr W Anderson 1865-1866, 1850’s
... Black and white portrait of a male with white beard... 1865-1866 Black and white portrait of a male with white beard ...Councillor William Anderson lived at his property “Rosemount” Yangery. he’s was elected to the Legislative Council and represented this district for a number of years.Black and white portrait of a male with white beardCouncillor W Anderson 1865-1866president, belfast, portrait, council, shire, government, municipal, local-government, rosemount, yangery -
Port Fairy Historical Society Museum and Archives
Photograph, Cr J Cruickshank Shire of Belfast President 1901-02-03
... Black and white portrait of a male with a beard... portrait of a male with a beard and moustache Cr J Cruickshank ...Councillor J Cruikshank. Owned “Terka” station near Kirkstall. The property had for some years sheltered and fed a number of kangaroos and he expressed the wish that they would be given a home there. The homestead is a bluestone building with a shingle roof, built by Robert Ireland of Port FairyBlack and white portrait of a male with a beard and moustachebelfast, president, portrait, government, shire, council, municipal, local-government, terka, kirkstall, cr j cruikshank -
Bacchus Marsh & District Historical Society
Photograph, Burnip Family and House Coimadai 1883
The family group in this image is the Burnip family. George Burnip came to Australia in 1854. In 1856 he married Juliette Grant. Sometime after this he came to the Bacchus Marsh area and purchased a farm near Coimadai and named it 'The Pines'. George Burnip was active in public affairs as a member of School Board of Advice and the Agricultural Society. One of the two men in this image is likely to be George Burnip, probably the man on the right. The woman second from the right of the picture is possibly Juliette Burnip. The children pictured are likely to be the Burnip children.Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'. An image showing a brick house with a pitched roof in three separate sections. Two chimneys on either side of the house can be seen. Standing in front of the house is a group of people, male and female, young and old. One female is older and is seated in a chair. At the front of the group is dog.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE houses coimadai vic, stevenson and mcnicoll 1883 photographs of bacchus marsh and district, houses bacchus marsh, burnip family bacchus marsh -
Bacchus Marsh & District Historical Society
Photograph, Police Barracks Main Street Bacchus Marsh 1883
The Bacchus Marsh Police Barracks shown in this image were located in Main Street on the site of the present day Police Station. The Barracks were constructed around 1857 or 1858. Prior to this the Police were stationed in the Police Paddocks at Maddingley in the area where Maddingley Park is now located. This building was in use by the Police until 1930 when it was replaced by a new building. This later building was in use until the early 2000s but was demolished in 2003 and replaced by a larger Police building.Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'. The image shows the Bacchus Marsh Police Police Barracks and stables in 1883. Two uniformed male police officers wearing helmets can be seen standing on the footpath in front of the building. Next to them on their left appear to be two boys. The Barracks is a sandstone building with a chimney on one side and appears to have a slate roof.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, bacchus marsh police station, police stations, police -
Bendigo Historical Society Inc.
Photograph - FAMILY PORTRAIT C1900, approx 1900
BHS Collectionsepia toned photo: family group, male in centre with small boy left side, small girl on right. Victorian setting. Cane furniture and various plants. Dog at front.'Bartlett Bros. Bendigoperson, family -
Bendigo Historical Society Inc.
Photograph - FAMILY PORTRAIT, approx. 1910
BHS Collectionblack and white photo: family. One mature female in dark gown with brooch and necklace, one mature male in suit, white shirt, tie and tie pin. One male child suited, short trrousers. Six young males suited and buttonholed, one with watch chain. Two young females, long dark curls, pinafore gown, brooch visible at throat of R. hand gown. Weatherboard house at rear, ivy at left hand border. Step and verandah visible behind group with an upholstered chair, personal belongings nearby and below four pane glazed window.2000 - 180-01 on back of photoperson, group -
Bendigo Historical Society Inc.
Photograph - HARRIS COLLECTION: MALE PHOTO, ninteenth century
... Black and white portrait of an adult male with moustache... and white portrait of an adult male with moustache, no beard ...Black and white portrait of an adult male with moustache, no beard. Written caption on reverse 'George Bain'. Photo was held in the Harris Collection, Axedale.george bain, bendigo, jonathan harris collection -
Bendigo Historical Society Inc.
Photograph - LA TROBE UNIVERSITY BENDIGO COLLECTION: STAFF BENDIGO TEACHERS' COLLEGE
... Teachers' College staff male female individual person portrait ...BHS CollectionA white envelope which contained four photos and on the front in grey lead is the name J.C. Burnett A black and white photograph of Ms. J.C. Burnett a staff member at Bendigo Teachers' College. A small black and white photograph of four Bendigo Teachers' College staff members - Ms. J.C. Burnett, Mr.George Mills (Principal), Mr. M. Morris and two unnamed women. Two black and white photographs of Bendigo Teachers' College staff members - 1. Ms. J. Burnett with an unknown man and 2. A small photo of Mr. M. Mills, Ms. J. Burnett and Mr. George Mills, year 1945 written on rear of photo.bendigo, education, bendigo teachers' college staff, la trobe university bendigo collection, collection, bendigo teachers' college staff, male, female, individual, person, portrait, photography, photographs, photograph, bendigo, education, photo, envelope, bendigo teachers' college staff, ms. j.c. burnett, teacher training, tertiary education -
Glenelg Shire Council Cultural Collection
Painting, Joshua Black, c. 1850
... as the Scotts Presbyterian Church. Portrait Portraits Male Man Victorian ...Joshua Black was an Irish Stonemason who came to Portland. He helped to build many significant buildings including what is now the Royal Hotel and Julia Street Creative Space as well as the Scotts Presbyterian Church.Portrait of a man against a blank brown and black background. He is in formal attire, with black jacket, high-collared white shirt and black cravat. His hair (black) is parted on the left and he has side burns descending past his cheekbones. Framed in a black frame with gilding.Front: (no inscriptions) Back: (no inscriptions) Conservation Centre, Melbourne - label.portrait, portraits, male, man, victorian, portland, buildings, builder