The Henty family and their descendants were notable settlers in Australia, initially in Western Australia, then in Launceston and finally in Victoria. While most family members settled in Victoria from 1834, others remained in England and in Tasmania. The portrait was purchased by the Society as part of a small collection of Henty memorabilia and portraits from the owner of Moorabool Antiques, Geelong in 2021, which had in turn acquired the item from the estate of Dennis Alston of Alston's Antiques in Hamilton, Victoria.Members of the extended Henty family were notable British settlers of southeastern and southwestern Australia. The connection to Kew (Vic.) is that members of the Henty family owned important mansions in Kew in the 19th century. Stephen George Henty's family lived at 'Findon', and Francis Henty of 'Merino Downs' in the Western District lived in his final years at 'Field Place', Kew. Alice (Henty) Hindson, born in Portland in 1852, died at 'Field Place' in Kew in 1932. She was the daughter of Francis Henty. The portrait has added artistic and aesthetic significance as a signed photographic portrait by Lafayette Photographic Studios, Collins Street, Melbourne. The studio flourished from 1906-1930. Photographic portrait of Alice (Henty) Hindson (1852-1932), one of the daughters of Francis Henty and Mary Ann Lawrence, taken and signed by the internationally renowned London photographer 'Lafayette'. The oval photograph is encased in a brown calf skin case. The portrait represents the sitter in middle age, wearing a black dress and a white lace collar. Alice Henty had married John Hindson in 1875 at Trinity Church, East Melbourne. The couple were to live at 'Shrublands' in Canterbury from 1883. Her husband died in 1919 and it is likely that the portrait was taken after that date. She was to donate 'Shrublands' to the Anglican Church in 1923, after which it became St John's Home for Boys (and girls). Alice Henty's sister Louisa Henty died at her home 'Field Place in 1924. Alice was also to die at Field Place in 1932. Signed: "Lafayette / Melb."henty family, alice henty, alice hindson, shrublands, field place, john hindson, francis henty, louisa henty, mary ann lawrence, mary ann henty, lafayette photographic studio -- mebourne (vic.)

A number of sketchbooks filled with sketches and paintings by Dr David Alexander. .29) Includes sketch portrait of Gerty McDowell, Stephen, Molly Bloom, Father Cowley S.J., Father Connel, The Lake at Burrumbeetdavid alexander, drawing, landscape, figure drawing, boats, merimbula, portraits, life drawing

Portrait of Will Rees from Australian Photographic Journal. C1909B/W Photo: Seated sideways wearing spectacles, mustachioed Gentleman in tree piece suit white shirt collar and dark tie and hat. Copy of original photo. c.1909. Original in "The Australian Photographic Journal p.264 22 September 1909.Portrait taken by W.J. Chapman. Engraved by S.W. Bacon and Co.stawell

The Johnstone family were connected with the Craiglea Winery in Sunbury from 1864 to 1883. It was established by James Johnston, the father of Wilfred Henry. Charles Johnston took over the winery in 1885 and in 1897 he purchased 'Kignane'. A cousin ran Craiglea until 1905A photocopy taken from an older portrait of Wilfred Henry Johnston. He has a bushy moustache and he is wearing a braid trimmed single breasted jacket without lapels.JOHNSTONE O'SHANNESSY & COMPANY LIMITED / 55 & 57 Collins Street East Melbourneo'shannassy street, craiglea winery, johnston, wilfred henry, portraits, clothing and dress, sunbury, kignane, george evans collection

This portrait is of James Cameron who was the first president of the Croajingolong Shire ( later Orbost Shire). He was also an inaugural member for East Gippsland in the Legislative Assembly from 1902 until 1920. In 1882 Cameron was the first Orbost councillor of the newly constituted Tambo Shire. In the next twenty years he served as justice of the peace, shire councillor, guardian of St James's Anglican Church, Sunday school superintendent, and president of the local agricultural society and railway league Orbost was at first included in the Bairnsdale Shire from 1882 and was later part of the Tambo Shire. Because of travelling distances the Croajingalong Shire was created in 1892 (name changed to Orbost Shire 17.2.1893 with James Cameron as the first Shire President. In 1994 it amalgamated to become part of East Gippsland Shire Council.This item is associated with James Cameron, a prominent early Orbost identity. It is also associated with Orbost Shire Council.A black / white head and shoulders portrait photograph of a moustached man in a suit.on back - "James Cameron"cameron-james orbost-shire-council governance-orbost

One of 11 similarly presented b/w half portrait photographs showing various councillors within Glen Eira City Council. Copyright for this image is unknown, although likely commissioned by Council. It has been digitised and published here for educational and research purposes. If you believe that you have copyright to this image and would like it removed from the site please contact us through the 'Leave a Comment' tab below. B/w portrait photograph of Cr Graeme Gillard wearing light grey suit, white shirt and dark tie.Handwritten on verso in blue ink pen:"Cr Graeme Gillard"

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card.Printed lower left hand side of the card "American Studio, 324 Geo. St."tintype, american studio, woman, unidentified woman, women, photograph

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .4) A tintype portrait of a man, attached to a card. little gem, tintype, man, unidentified man

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card. Printed on the lower edge of the card "Allen & Gove, American Studion, 6 Sturt St, Ballarat"ballarat, american studio, little gem, allen gove, tintype, woman, unidentified woman, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .5) A tintype portrait of a child, attached to a card. little gem, photography, child, portrait

Geoffrey MAINWARING (29 October 1912-13 April 2000) Born Adelaide South Australia Geoffrey Mainwaring studied at the South Australian School of Arts and Crafts before becoming an art teacher at Thebarton Technical School (1928-36). Mainwaring was adept at depicting a variety of subjects, from landscapes to portraits, and was very competent using a variety of media, including pencil, oils, and watercolour. He was a confident draftsperson, and completed many sensitively rendered portraits that give an insight into the character of the sitter. In June 1941 Geoffrey Mainwaring (SX13471) joined the 2nd Australian Imperial Force, and after five months was transferred to the Engineers and employed as a Sergeant-Instructor, specialising in demolitions. In late 1942, he was sent to New Guinea as an Australian army artist on probation. On 27 May 1947, Mainwaring was discharged from the Army, having served for five and a half years. He was appointed as an artist on a civilian basis until his paintings were completed in March 1948. In 1949 he was appointed Head of the Art School at the Ballarat School of Mines (now Federation University Australia). He continued to paint commissioned portraits for the Australian War Memorial until the late 1950s. Geoffrey Mainwaring died at Ballarat in April 2000. 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 portrait of Jack Barker, Principal of the Ballarat School of Mines, and inaugural Director of the Ballarat Institute of Advanced Education (later Federation University Australia).art, artwork, e.j. barker, jack barker, mainwaring, geoff mainwaring, geoffrey mainwaring, portrait, school of mines, ballarat school of mines, australian war memorial, australian war artist

William Box was born in 1834 in Withyham , Sussex England and married Elizabeth Avis 13th November 1854 at Tunbridge Wells, Kent England. Elizabeth Avis was the daughter of Thomas and Eleanor aka Ellen Avis nee Robinson . In 1855 they sailed to Australia aboard the SS Omega. At first they rented a block of land on Jasper Road East Brighton ( now McKinnon / Ormond). that was part of the Henry Dendy Special Survey 1841. An early settlers’ hut on the site became their home and they farmed the land and were soon able to purchase the block. They raised 13 children and the Cottage was extended as required. In 1984 that early settler cottage was found in a dilapidated state by Laurie Lewis, in his Timber Yard in Jasper Rd Ormond.. The Moorabbin City Council, Federal Government, Mr Lewis and CMHS members reconstructed the Cottage in 1985 . Box Cottage Museum, a reconstruction of an early settler hut, is named after the Box family who resided there 1865 -1913 . The William Box and Elizabeth Avis Box raised 13 children and lived in the early settler cottage and farmed on the block of land in Jasper Road, East Brighton ( now McKinnon / Ormond) that was part of the Henry Dendy Special Survey 1841 Inscribed in Album “ The early photos in this album were found by Mr (Laurie) Lewis when he was demolishing the Old Box Cottage. He gave them to Mrs Avis Box Eldridge who in turn gave them to me. They were not identified. I believe they rightly belong in the Cottage. I have attempted to identify them and present them in a way they can be preserved as a historical record of the era.” A B Leigh A black and white photograph of Elizabeth Avis Box who married William Box 1854 ALBUM "Australian Coat of Arms" PORTRAITbox george, box mary, box william, box elizabeth honor, box alonzo, box mary louisa, dendy henry, were j b, dendy's special survey 1841, brighton, moorabbin, bentleigh, mckinnon, ormond, market gardeners, dairy farms, early settlers, pioneers, jasper road, gurr jabez, gurr eliza, pay henry, pay anna, ward willam, box henry, ward elizabeth emma, box john, sheldrake martha, rushall eleanor, box caroline, box elizabeth avis,

sepia photograph mounted on fawn board. Group photo - 3 rows of men and woman in front of rough building in bush setting. Men are dressed in suits and hats, women in long dresses and hats. Handwritten on back ' cannot identify'Davis & Co., Photographers ( portraits and landscape )person, group, casual

ProgramContemporary Portraits: Stories by Murray Bailaustralian ballet, ballet, walsh st library

Comprises twenty-three extracts from the Minutes of Evidence of the Coranderrk Inquiry, accompanied by an analysis of the historical text and context. The book relies strongly on primary-source materials and accurately references historical analysis from scholarly and Aboriginal perspectives. This book is derived from a verbatim-theatre performance in which professional actors portrayed the witnesses who gave evidence before the 1881 Coranderrk Inquiry.illustrations, photographs, facsimiles, maps, portraitswurundjeri, woi wurrung, william barak

Hand-written history of Lake Condah Mission, with stories and reminiscences of Aboriginal residents; family histories; extracts from Lake Condah Mission 1915 day book.Illustrations, photographs, diagrams, maps, portraitslake condah, family history, stories

Johnson Family Album The Cabinet Portrait Studio YEOMAN & Costawell

Bronze medal presented to James Kean for his part in the rescue of the survivors from the wreck of the Admella on Carpenter's Rock, August 1859. Inverse: Profile portrait of a young woman with har in a Grecian bun, wearing a wreath of laurel leaves. Text around the edge. Obverse: relief depiction of five figures on surface of a ship deck. Man at the top of the image waving a cloth to attract the attention of a lifeboat in the background left.Front: AWARDED BY THE BOARD OF TRADE FOR GALLANTRY IN SAVING LIFE/ V.R. (around edge) B. Wyon SC (under portrait) Back: (no inscriptions)

This 1920s wedding portrait helps understand the social and spiritual contexts of the Ararat community at a time when religious ceremonies were of great significance. The clothing helps identify the status of the couple and reflects their economic standing.Representative of the early social and spiritual Western ceremonies in the area of Ararat in the 1900sLarge, portrait-orientation black and white photograph mounted on card. Two people, dressed in formal wedding attire stand together in a studio. Bride carries a large boquet of flowers and has a ¾ length veil.Rear: "To Uncle Jim with best wishes / from Tom and Daisy / 11 2 20" / 1627 [cat.nbr]wedding, ceremony, photography, 1920s

Tilly Aston sits in this studio portrait, her outfit obscured by the oval framing of the image. Her hair has been tied back and around her crown, as per her adulthood. A collared top with long sleeves which have a band around the cuff. She looks to have rosettes on her shoulders, a pin with 'V (crown symbol) R' under her chin, and fuchsias draped around her neck. The image could have been taken around 1897, when Queen Victoria celebrated her jubilee and various ornaments were produced to symbolise the occasion.Young adult female in studio portrait wearing collared, long sleeved dress with fuchsia necklacetilly aston, association for the blind

Queen Victoria’s appreciation of German artist Franz Xaver Winterhalter (1805-1873) began after she saw portraits by him of other European monarchs. Accordingly, between 1842 and 1861 he made fifteen visits to England and painted over 100 portraits of Her Majesty, the royal family and other friends and dignitaries. In 1843 Winterhalter was commissioned to paint matching portraits of Queen Victoria and Albert, the Prince Consort. These originals hang in the Garter Throne Room at Windsor Castle and are part of the UK Royal Collection. Many legitimate copies of Winterhalter’s portrait were produced and presented to the Parliaments of the British Empire, including the Parliament of Victoria. Such copies are referred to as “After F. X. Winterhalter” and artists responsible include William Corden and John Prescott Knight. When creating copies, artists were not restricted by the size of the original portrait. Walterhalter’s original is 2.7m x 1.7m whereas copies can reach an impressive 4.5 metres in height. The portrait that hangs in Queens Hall at the Parliament of Victoria is not signed. Comparison with other copies of the work suggest that the Parliament’s painting may have been completed by William Corden. The Government Art Collection (United Kingdom), has a Queen Victoria copy in their collection and Parliament’s portrait has similar traits. A copy by John Prescott Knight which hangs in the Legislative Council in the Parliament of Tasmania is quite different, particularly with reference to the shape of the young Queen’s face, which is rounder in the Corden portraits.This portrait of Queen Victoria was presented as a gift by the British Government to the Parliament of Victoria in April 1860. Painted on fine linen supplied under Royal Warrant by the workshop Winsor and Newton, London, the frame has been embellished with elaborate wooden carvings. Framed portrait, oil on linen, of Queen Victoria. Victoria is posed in front of a curtain partially obscuring a building (possibly Buckingham Palace) in the background. Timber frame with a layer of gesso and decorative composition ornaments. There are rose, scotch thistle, clover leaf and Acanthus ornaments. A carved wood and composition element crown, resting on a tassled pillow sits on top of the frame.Canvas unsigned. Verso printed: ‘WINSOR AND NEWTON / Rathbone Place, London’. Embossed stamp into stretcher wood, stamped ‘Winsor and Newton’ in black ink.victoria queen of great britain, 1819-1901, winterhalter, franz xaver, 1805-1873, corden, william, queens hall, parliament of victoria

This portrait is of Dr Walter Thompson, former President of ANZCA from 2006 - 2008 was commissioned by ANZCA to commemorate Dr Thompson's presidential term. The painting was unveiled on 17 April 2009. The artist Ben Joel is a Western Australian artist, well known for his commissioned portraits and contemporary artworks in most media. Joel's artworks are represented in national private and public art collections Oil on canvas portrait of Dr Walter Thompson wearing the Presidential gown and medal. The sitter's hands are clasped in front of him and he is casually seated in front of a plain background coloured in black and red imitating a second frame/window. The painting is set in a plain gold and maroon frame.[ lower right hand side] BEN JOEL '08painting, anzca president, thompson, walter, joel, ben

Jean APPLETON (1911-2003) Jean Appleton was a painter and craftworker who studied at East Sydney Technical College and at the Westminster School, London. After seeing French sculptor Maillol's work 'The Cyclist' she was inspired to try sculpture and consequently studied under Eric Schilsky in London. With the outbreak of war she returned to Australia, thereafter teaching at high schools in the ACT and NSW and at the Julian Ashton and National Art Schools in Sydney. The first of her thirteen solo exhibitions was held at Sydney’s Macquarie Galleries in 1940. Resident in England from 1969 to 1981, she continued to teach intermittently into the late 1970s. After a difficult first marriage to artist Eric Wilson, who died, she married painter Tom Green and they settled in Moss Vale. Though her work is now represented in major state and regional collections, Appleton was like many women artists of her generation in that recognition of her work came late in life: she was in her eighties when a public gallery first presented a retrospective exhibition of her art. (https://www.portrait.gov.au/portraits/2013.92/self-portrait, accessed 15 September 2019) Jean Appleton won the inaugural Portia Geach Memorial Award in 1965 with this work. She dies in 2003.A sketched portrait of a man's head by Jean Apppleton. It may be Jean Appleton's first husband, Eric Wilson. drawing, portrait, jean appleton

One of 11 similarly presented b/w half portrait photographs showing various councillors within Glen Eira City Council. Copyright for this image is unknown, although likely commissioned by Council. It has been digitised and published here for educational and research purposes. If you believe that you have copyright to this image and would like it removed from the site please contact us through the 'Leave a Comment' tab below. B/w portrait photograph of Cr Ian Barklamb wearing a plain grey colour suit, white shirt and corporate tie.Handwritten on verso in blue ink pen: "Cr Ian Barklamb"

One of 11 similarly presented b/w half portrait photographs showing various councillors within Glen Eira City Council. Copyright for this image is unknown, although likely commissioned by Council. It has been digitised and published here for educational and research purposes. If you believe that you have copyright to this image and would like it removed from the site please contact us through the 'Leave a Comment' tab below. B/w portrait photograph of Cr Emil Braun wearing glassses, a light grey suit, white shirt and dark tie.Handwritten on verso in black ink pen: "Cr Emil Braun" and below written in black pen and crossed out with blue pen "Elected 23/6/84" Sticker with red ink print in lower corner, lhs: "VAN DER TOORREN / Block Arcade Studios / 4th Floor, Block Arcade, 282 Collins St. 03 - 8648 / DATE..............REF................."

It is a portrait of a person assumed to be a distant relative of the Evans family. The photo has been handed down through four generations to the donor, Jane Ireland.A framed copy of an oval type photograph of a lady. The frame is made up of a brown stained timber on the outside with a gold surround in the middle and a red velvet inner surround. The head and shoulders portrait shows a lady dressed according to the fashion of the late Victorian era.evans, anne, holden, anne, emu bottom homestead, settlers, george evans collection

MR. PARRINGTON SENT 5 COLOUR PHOTOGRAPHS OF SIR JOHN LONGSTAFF'S PORTRAIT, UNSIGNED. IT IS REPORTEDLY PAINTED BY A JUDGE BUT PROBABLY BY SIR JOHN HIMSELF.COLOUR PHOTOGRAPH OF SIR JOHN LONGSTAFF, POSSIBLY PAINTED BY MR. JUSTICE GAMBLE - BUT UNSIGNED (POSSIBLY A SELF-PORTRAIT). PHOTOGRAPH TAKEN BY MR. D. PARRINGTON. MR. JUSTICE GAMBLE WAS A GREAT FRIEND OF SIR JOHN LONGSTAFF (SIR JOHN DIED IN 1941)local history, photography, photographs, longstaff, sir john

Vincenzo Galea was an Italian POW in Camp 13 Murchison. This portrait of Valma Paterson was painted from a photograph supplied by her father George Paterson, a Hygiene Officer with the Australian Army. Oil Portrait on canvas. Olive green background. A young lady with short dark brown hair. Gold highlights near centre part. Dark brown eyes and red lips. Wearing a light pink top with pleats on shoulders.V Galea 23/11/45camp 13, paterson, valma, george, murchison, vincenzo, galea, portrait

Frederick William Knuckey enlisted on 14.2.16 in HQ's 38th Batt AIF No 66. WIA 14.11.17 (gassed). Hospital 23.5.18 with Myalgia. Drowned at sea as a result of torpedoing by a German submarine. This portrait is one of a number that originally hung in the "Gallery of Honour" in the foyer of the Soldiers Memorial Institute Pall Mall Bendigo now Bendigo Military Museum. Refer Cat No 8003.Sepia portrait photo of F.W Knuckey in uniform with peaked cap. Underneath are details re the soldier. Set in green background in a dark stained wood frame."Sig F.W.G Knuckey, 38th Battn A.I.F, Drowned ex Leinster Enemy Action, Oct 10 1918"brsl, smirsl, 38th