Lainey BEAVIS (1994- ) Born Portland Lainey Beavis completed a Bachelor of Visual Arts (Fine Arts) at the Federation University Arts Academy in 2015. She won the 2015 Art Acquisition Award. The work 'The Enchanted Forest' has been exhibited in the 2015 Federation University End of Year (EYE) Exhibition, and at Brunswick Street Gallery.Framed digital print featuring imagery of Portland's Enchanted Forest. Artist's statement: The photograph captures a dreamlike landscape where one can lose themselves within. It portrays a figure with significant connection to the landscape that it transcends into a sense of euphoria. The image emphasises the beauty of the landscape and the figures passion for it. The figure in the landscape is Rayhna Puche.lower left side '1/5' lower centre 'The Enchanted Forest' lower right side 'L. Beavislainey beavis, artwork, artist, alumni, figure, portland, enchanted forest, photography, rayhna puche, art acquisition award

This work was purchased from an exhibition of University of Ballarat staff members at the Post Office Gallery in 2009. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed photograph depicting a girl holding an unseen persons hand. Signed lower right side 'Gail Trembath' Signed verso 'Gail Trembath 'Prato' 2008' Sticker lower right hand corner: Title: PRATO - 2008 Medium: pigment ink on Lana Jet 256 gms GAIL TREMBATH art, artwork, children, gail trembath, photography, available, prato, italy

This work was undertaken in 2001 when the artist was undertaking an Honours year at the University of Ballarat Arts Academy (later Federation University). This item is a part of the Federation University School of Business Art Collection. The Federation University Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed Digital Limited Edition Print by Michael Shiell. "The woven form was made at 'Blue Waters' near Creswick. I remember that I went out hoping to make something and I had a few mediocre starts but nothing really inspired was popping for me. Eventually I sat on the bank and started tossing little pebbles into the water. Finally the immediacy and ephemerality of the dissipating ripples struck me. I made the work by twisting and weaving the reeds which lined the banks of 'Blue Waters'. I then floated the rings together and managed to get a couple of quick photos before the work floated away and dissipated." (Michael Shiell)Edition: 1/10art, artwork, michael shiell, shiell, blue water, creswick, school of business collection, available, photography

Robert HANNAFORD (9 November 1944- ) Born Gilbert Valley, Riverton, South Australia From In 1967 to 1968 Robert Hannaford studied in Ballarat. Primarily known as a portrait artist he is also known for his landscapes, still lifes, nudes, and sculptures. Robert Hannaford has commented: "Portraiture is an exploration of character that goes beyond photography. It is an ongoing thing over a long period of time. You get elements of various emotions that can be sensed in the painting." Framed academic portrait of Dr Tom Kennedy who was the Director of the Gippsland Institute of Advanced Education (GIAE) from 1984 to 1989, and the inaugural Chief Executive Officer and Pro Vice-Chancellor of Monash University College Gippsland (MUCG) from 1990 to 1992. (In 2014 the Churchill Campus became part of Federation University Australia). Prior to moving to Gippsland, Professor Kennedy was the Deputy Director of the Chisholm Institute of Technology. He was an Associate Fellow of the Australian Institute of Management and a Fellow of the Royal Institute of Chemistry, Professor Kennedy held a degree in Science, a PhD in Chemistry (Glasgow) and a Diploma of Education. Rom Kennedy died on 04 May 2011. Signed lower right "Hannaford 90"artwork, artist, tom kennedy, gippsland campus, hannaford, robert hannaford

Owned by the family of Captain William Robertson and part of the Robertson collectionoval framed family photograph: Photograph of Captain William Robertson and his wife in an oval silver frame embellished with a floral raised edge with a small hook for hanging (photograph tucked in back appears to be of Mrs Robertson)local history, photography, photographs, slides, film, robertson, captain or mr william, royal australian naval reserves, s.s.casino

This photograph was taken by a TAFE student at the Ballarat School of Mines Campus. They were most likely taught by Alistair Heighway.Framed black and white photograph of old boots on a shelf. If you can provide information on this artist and/or artwork please use the comments link below.photography, boots, clocks, ballarat school of mines, alistair heighway, zoe bassett, available

This photographic exhibition was developed by the Federation University-led Community Wellbeing research stream of the Hazelwood Health Study in collaboration with Morwell Neighbourhood House and Gippsland Centre for Art and Design at Federation University Australia. It highlights people's hopes for the future of Morwell has its roots in two unexpected places: the Hazelwood mine fire in 2014 and an academic study into community recovery from that fire. In late summer of 2014 a bushfire spread to the coal mine near the town of Morwell in the LaTrobe Valley, in south-eastern Victoria. The Hazelwood mine fire burned for 45 days, shrouding communities - especially Morwell - in smoke and ash. Strong calls by the community for an investigation into the health impacts of the Hazelwood Mine Fire led to the Department of Health's (Know the Department of Health and Human Services) decision to fund a ten year study of the potential health effects of this smoke event (Known as the Hazelwood Health Study). This exhibition came out of work undertaken by the Community Wellbeing Stream of the Hazelwood Health Study during 2016 and 2017. Based at Federation University Australia's Gippsland Campus, just a few kilometres from where the fire took place, one of our Study's main aims has been to find out from the community how the smoke event impacted on community wellbeing. We also planned to talk to community members about the effectiveness of community rebuilding activities, and find our how these have aided recovery following the smoke event. In 2017 we began working with community organisations on a project to foster community recovery and wellbeing. What emerged from these discussions was the idea for a photographic exhibition, on the theme of 'Our hopes for the future of Morwell'. Invitations to participate were extended to up to 50 members of various community groups. The groups were asked to think of some object that symbolizes their hopes for the future of Morwell. Individuals were then invited to attend a photographic session kindly hosted by the Morwell Neighbourhood House. Each individual was to hold this object while it was photographed, as well as explain what the object represented in terms of Morwell's future. Out of this process twenty nine photographs with their captions were produced, enlarged and framed for exhibiting. The photographs were taken by Clive Hutchison of the Gippsland Centre for Art and Design at Federation University Australia.Twenty nine framed original photographs.morwell, our hopes for the future of morwell, clive hutchison, photography, morwell neighbourhood house, hazelwood health service, gippsland centre for art and design, hazelwood mine fire, haxelwood health study, morwell neighbourhood mine fire, neale stratford, tracie lund, ian brown, susan yell, sue whyte, ainsley ja, ainsley james, michelle duffy, shaun mallia, valerie prokopiv, morwell art and framing

Prior to the election of female Councillor's and Mayors, the Mayoress role as wife of the Mayor, was one of the few ways women could officially undertake civic duties. Mayoress's made important contributions through their charity work, even stepping in on occasions to undertake Mayoral duties. Mayoress Giudice was born Beatrice Annie Harvey in Bendigo and became the first Girl Guide Commissioner in Bendigo. The Giudice family was associated with the Lyric Theatre, the Bendigo United Breweries, Shamrock Hotel and the Bendigo Lyric Photo Plays. Mrs Giudice died in 1980, aged 95 years.Framed, oval photographic portraits with convex glass and print, created using a collodion wet plate process. Hand coloured detail.Mrs M.G Giudice / Mayoress 1922 -24.sandhurst, bendigo, mayoress, mayor, vincent kelly, studio photography, portrait, giudice, beatrice annie harvey, lyric theatre bendigo, girl guides, mayor giudice, city of greater bendigo portraits

Prior to the election of female Councillor's and Mayors, the Mayoress role as wife of the Mayor, was one of the few ways women could officially undertake civic duties. Mayoress's played an important role in civic life through charity work, even stepping in on occasions to undertake Mayoral duties. Mayoress Pethard was born Hilda Robina Leed in Eaglehawk in 1889 and died in 1966. Mrs Pethard travelled extensively with her husband throughout their time in Office. Framed, convex, oval photographic studio portrait. Hand coloured detail. vincent kelly, studio photography, hilda leed, tarax, city of greater bendigo portraits, city of bendigo, city of bendigo mayoress

Prior to the election of female Councillors and Mayors in the 1960’s, The Lady Mayoress role was one of the few ways women could officially undertake civic duties. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and federal level. They also undertook some Mayoral duties on occasions when their husband was unavailable. Mayoress Rae was born Ethel Mary and during her time in office she attended functions alongside her husband for Queen Elizabeth and the Duke of Edinburgh during their visit in 1963.Framed, oval photographic studio portrait with flat glass. Hand coloured detail.ll, Mrs R A Rae / Mayoress 1962 - 63. lr, Martin Washington / Bendigoethel mary, martin washington photography, roy alexander rae, city of bendigo mayoress, city of greater bendigo portraits, mayoress rae, mayor rae, lansell pendant

Prior to the election of female Councillors and Mayors in the 1960’s, the Lady Mayoress role was one of the few ways women could be active in civic life. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and at times, national level. Mayoresses were also required to undertake Mayoral duties on occasions when their husband was unavailable. Mayoress Snell was born in Durham UK. Mayoress Snell was the first Mayoress to wear the gold medallion which came with the office. It was presented on April 11th 1956 at the municipal centenary dinner at the Shamrock and was a gift from Sir George Lansell who followed in the tradition of his late father George Lansell in making a mayoral presentation in gold. (1) p 209 Jackman.Framed, oval photographic studio portrait. Hand coloured detail. Image is flat, glass is domed.cl; Mrs H. W. Snell / Mayoress 1955 - 56 1958 - 59 / 1959 - 60vincent kelly, studio photography, edith margaret snell, city of bendigo mayoress, city of greater bendigo portraits, lansell pendant

Prior to the election of female Councillors and Mayors in the 1960’s, the Lady Mayoress role was one of the few ways women could be active in civic life. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and at times, national level. Mayoresses were also required to undertake Mayoral duties on occasions when their husband was unavailable. Mayoress Staples was born Harriet Jane Whitford in 1892 and died in 1959. Married to Cr alber Staples, the couple reinstituted the annual Mayoral Ball after an absence of many years. Framed, oval photographic studio portrait. Hand coloured detail.vincent kelly, studio photography, staples, harriet jane whitford, city of bendigo mayoress, city of greater bendigo portraits

Prior to the election of female Councillors and Mayors in the 1960’s, The Lady Mayoress role was one of the few ways women could officially undertake civic duties. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and federal level. They also undertook some Mayoral duties on occasions when their husband was unavailable. Mayoress Taylor was born Hannah Ellen Mullany and died 9th September 1963 aged 83. Hannah Taylor served as Mayoress from 1930 -31, 1937 - 38 and 1942 - 43.Framed, oval photographic portraits with convex glass and print, created using a collodion wet plate process. Hand coloured detail.lr, Mrs W H Taylor / Mayoress 1930 - 31 / " " 1937 - 39. ll, Vincent Kelly / Bendigohannah mullany, taylor, studio photography, city of greater bendigo portraits, city of bendigo mayoress

Prior to the election of female Councillors and Mayors from the 1960’s onwards the Mayoress role was one of the few ways women could be active in civic life. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and at times, international level. They also undertook some Mayoral duties on occasions when the Mayor was unavailable. Laura Jane Truscott (nee Baxter) born New South Wales (1880-1967).Framed, oval photographic studio portrait. Hand coloured detail. Flat glass and print. ll; Vincent Kelly / Bendigo. lr; Mrs A Truscott / Mayoress 1945 - 46studio photography, city of bendigo mayoress, city of greater bendigo portraits

Prior to the election of female Councillors and Mayors from the 1960’s onwards the Lady Mayoress role was one of the few ways women could officially undertake civic duties. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and federal level. They also undertook Mayoral duties on occasions if their husband was unavailable. Framed, oval photographic studio portrait. Hand coloured detail.lcl, Mrs R. H. Wilson / Mayoress 1960 - 61. lr Martin Washingtonstudio photography, martin washington, wilson, lansell pendant, city of greater bendigo portraits, city of bendigo mayoress

Prior to the election of female Councillors and Mayors in the 1960’s, the Lady Mayoress role was one of the few ways women could officially undertake civic duties. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and federal level. They also undertook some Mayoral duties on occasions when their husband was unavailable. Mayoress O'Brien was born Annie Webb at Dunolly in 1893 and died in 1938 aged 68. Mayoress O'Brien was interested in child welfare and gave devoted service to the baby health centre (1). (1. Jackman, Mayors of Bendigo)Framed, oval photographic portraits with convex glass and print, created using a collodion wet plate process. Hand coloured detail.ll, Mrs M.E. O'Brien / Mayoress 1929 - 30 lr; Vincent Kelly / Bendigovincent kelly, studio photography, o'brien, annie webb, city of bendigo maternal health, city of bendigo mayoress, city of greater bendigo portraits

Prior to the election of female Councillors and Mayors in the 1960’s, the Lady Mayoress role was one of the few ways women could officially undertake civic duties. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and federal level. They also undertook some Mayoral duties on occasions when their husband was unavailable. Mayoress Oliver was born Ellen May Robinson and she married Norman J Oliver in 1928. Ellen Oliver died in 1985 aged 82.Framed, oval photographic studio portrait. Hand coloured detail.lr, Mrs N. J. Oliver / Mayoress 1950 - 51 / 1964 - 65. ll, Raymond V Kelly / Bendigovincent kelly, studio photography, raymond kelly, ellen may robinson, norman j oliver, city of bendigo mayoress, city of greater bendigo portraits

An RDNS Sister had previously visited Mrs. Crook in her home and assessed the nursing care she required. Following the Sister's instructions, the Home Health Aide in this photograph, Robin Brown, is assisting Mrs. Crook from her lounge chair onto her walking frame. Mrs. Crook's son, Robert is also assisting his mother. Home Health Aides were employed and trained by Royal District Nursing Service (RDNS) from 1980. They wore a RDNS royal blue uniform, which has a white trim and RDNS badge applied to the left hand side, and a dark blue cardigan. In 1980, a Home Health Aide ‘Pilot study’, funded by the Federal Government, the Brotherhood of St. Laurence and RDNS, with the program written and taught by RDNS Principal Nurse Educator. Pat (Paddy) Rowley, was evaluated as successful. Following this Pilot study, Home Health Aides were employed by RDNS, and after instruction in the RDNS Education department, joined RDNS Centres and worked under the supervision of the RDNS Trained nurses (Sisters). The Sister assessed each patient, then introduced and supervised the Health Aide in the patient procedure required. The Sister wrote out clear, concise procedural instructions on a work card which the Health Aide followed each visit. If the Health Aide noticed any change in the patient’s condition, this was reported immediately and the Sister visited. The Sister made routine visits to the patient for review at least monthly. On the left of this black and white photograph is Royal District Nursing Service, Home Health Aide, Robin Brown, who has dark shoulder length hair and is wearing a dark cardigan over her dark coloured uniform which has white piping at the edge. To her right is Mrs. Crook who is sitting froward in her lounge chair. A walking frame, which has a material bag hanging from the front bar, is in front of her. Robin Brown has her left hand on Mrs Crook's back and her right hand under her arm. Mrs. Crook has curly white hair; is wearing glasses which are resting partly down her nose, and is wearing a light coloured cardigan over her dark dress. Part of a necklace of pearls can be seen hanging over her dress. She is smiling and looking at the camera. She has her right hand on the upper part of the right wing of the walking frame and her left hand is on the top hand grip section on the left wing of the frame. To her right, her son, Robert, who is squatted down by the chair, has short dark hair and is wearing a checked shirt. He is holding the left wing of the walking frame with his left hand and his right arm is extended with his hand on his mother's back. Closed floral curtains are seen in the rear of the photograph.Photographer's stamprdns, royal district nursing service, home health aide, home health aide uniform, patient care, mrs crook, mr robert crook, home health aide robin brown

Information booklet for distribution, collected by Roger Jones. "The Mount Buffalo plateau has been attracting scientific investigation into its unique plants, insects and animals from at least the 1850's. "(Pg. 131. Historica) "In 1924, amateur naturalist and mountain guide, Alice Manfield (1878-1960) popularly known as Guide Alice , released The Lyre-birds of Mount Buffalo, a 23 page booklet detailing her studies into the lyre-birds on Mount Buffalo, the first pictorial record of lyre-birds to be published. It features Mansfield's photography and includes an introduction by Charles Barrett (1879-1959), an Australian naturalist, journalist, author and foundation member of the Ornithologists Union." (Pg. 132) There are very few known copies of this booklet.Listed in Draft Inventory of Significant Collection Items . Appendix A.3. Natural History. (Pg 169. Historica)..1 Smooth olive book cover with stick-on photograph of a male lyre-bird. Framed within a border, ink blotches on right-side of booklet. 16 page booklet A 5 size, illustrations on left side pages, stick-on photographs on right pages except for introduction with illustration on right. Thick rough printed paper. •.2 Same as above with slight ink marks on top right, slight tear on right of image. .1 "The Lyre-Birds of Mt Buffalo" Photographs and notes by 'Guide Alice', Introduction by Charles Barrett CM2s Publisher: Robertson and Mullens Ltd....." •.2 Same as .1.

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This homemade photographic printing frame was built by Louis Haeusler (b.1878) and demonstrates his engineering capabilities. Rather than purchase the required materials for his home dark room processing, Louis would make any tools he needed from found materials around the Haeusler family home. Louis’ photographic equipment is among the many objects in the Haeusler Collection that represent home and social life in early twentieth century Wodonga. The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history. A handmade photographic printing frame, constructed from timber, paper, nails, glass and sticky tape. photography, photos, photographic, photographs, family photos, family photography, darkroom photography, dark room photography, printing, printing frame, wodonga, haeusler, haeusler collection

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This photograph is of Ilma Margaret Ernestine Haeusler (née Tasker, b.1900 in Tallangatta), mother of Alf Haeusler who was born in 1922. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history. A black and white photographic portrait of a Ilma Margaret Ernestine Haeusler (née Tasker, b.1900 in Tallangatta) displayed in a thick wooden framephotography, photos, photographic, photographs, family photos, family photography, haeusler collection

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history. A black and white photograph in a white painted wooden frame. It features Jack Hamilton-Smith mounted on his horse.hamilton-smith collection, hamilton-smith, ellwood, horse, horse riding, photograph, photography, portrait photography

MEMBERS OF THE CLUNES V.F. BRIGADE..1 PHOTOGRAPH POSTCARD OF CLUNES VOLUNTEER FIRE BRIGADE. FIRE WAGON IN CENTRE OF PICTURE AND BUILDINGS IN BACKGROUND. .2 - .5 copies of above photograph .6 Framed enlarged copy of above photographon back of postcard: Clunes 12/4/06 Dear Gretchen Your welcome note to hand, glad that you are all well and hope to see you soon. Father and Clare and talking about paying you a visit so look out for them. Wishing you all a happy easter Fritz Card addressed to Mrs G Jacobs, Spencer Crossing, Ballarat Eastlocal history, photography, photographs, fire brigade

IT IS ON PERMANENT LOAN FROM HEPBURN SHIRE COUNCIL. CR. C.T. SUTHERLAND WAS ELECTED COUNCILLOR TO CLUNES BOROUGH COUNCIL IN 1861, AND WAS MAYOR 1863 - 1867. THE PHOTOGRAPH ORIGINALLY HUNG IN THE CLUNES TOWN HALL DURING HIS TERM OF MAYOR.FRAMED PHOTOGRAPH OF CR. CHARLES TYTLER SUTHERLANDELECTED MEMBER OF CLUNES MUNICIPALITY 8.10.1861 ELECTED CHAIRMAN 25.2.1862. FIRST MAYOR OF BOROUGH OF CLUNES 1.10.1863 UNTIL 8.8.1867. RESIGNED FROM COUNCIL 14/2/1868 RICHARDS & CO PHOTOSlocal history, photography, photographs, councillors & officers

ROBERT HOULISTON BARON No 3596 enlisted in the AIF in 10th reinforcements 57th Batt on 2.8.1917 age 18 years 5 months. Embarked for England 28.2.1918, promoted Acting L/Cpl 3.9.1918, embark for France 25.1.1919 and attached to Divisional HQ, embark for England 6.6.1919, discharged from the AIF 25.9.1919.Heavy timber frame, gold inset, white mount & glass front. Black & white rectangular portrait photo of WW1 Soldier."3596 ROBERT HOULISTON BARON" photography-photographs, military history - army, cooper collection

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis' photo, a woman streaks at an AFL game – two players stand in frame with her, a Richmond and Collingwood player respectively. Behind them the crowd and a large Richmond banner can be seen. Playful and spirited interactions such as this are a key aspect of Australian football culture.

Frame - Golden timber/mottled. Inner frame - Gold embossed. Mount - Maroon flecked cardboard. Male - Facing front Black open jacket/button holes on lapel/vest. White shirt and black button. Full beard. Receding hair line. Background - white and greyFront: H.E. Brewer. Esq. M.D. 1866.portrait photography, portrait, photography, civic photography

This glass plate photograph shows good detail of members of the Warrnambool Garrison posing for their photograph in front of a young township. There are other well-dressed citizens behind them. The three men with frogging on their sleeves were commanders were likely to be commanders. The men are facing north with Cannon Hill and the fortification area in the background. It dates from the 1860s. The firearms held appear to be 1853 pattern Lee Enfield muskets used by the British army in Crimea at this time and in Australia, rather than the later Martini Henry cartridge rifles. The uniforms match other photos of the Warrnambool Garrison Militia and Band in our Collection, taken up until the 1880s. The three storey building in the photograph is likely to be the Manifold & Bostock flour mill, built in 1854 near the ‘cutting’ in Merri Street, which was one of the main streets at the time; if one faced the building’s front from a vantage point and looked south to south-east, the hills around Flagstaff Hill and Cannon Hill would be behind that mill, and the Harbour behind the hills. This is the area of the Fortifications. The glass plate method of photography was widely used during the mid-19th to early-20th century. The donor and maker of the photograph are unknown. Around this time the citizens of Victoria were prospering from the gold rush but felt isolated and uneasy about their security in the colony. In 1854 the Volunteer Act was passed to provide some military defence. In 1858 the Warrnambool Volunteer Rifle Corps was established, disbanded in 1863, then a new Warrnambool Detachment was formed in September 1866. Legislation was passed in 1884 that replaced the volunteers’ corps with a partly paid, permanent Militia Defence Force. The batteries manning the coastal forts of Victoria were termed Garrison Artillery Companies. When the Army was federated in 1901 there were eight Militia Companies in Victoria. Warrnambool and Port Fairy together were known as 8 Coy AGA (Australian Garrison Artillery). Changes to formation and name continued into the 20th century.This photograph is a record of the very early local defence force, circa 1866. The photograph signifies the connection of the colony in Victoria to the growing need for security due to the unrest in Europe at that time. The photograph is also locally significant to the industry of the young township of Warrnambool, showing what is likely to be one of the first flour mills in the town. The photograph is also the only example of the early methods of glass plate photography in our collection. Photograph, rectangular glass plate, positive sepia image. Photograph has brass framed edges that fold over to the back, with mitred corners. The front edges are pressed with a decorative floral pattern. The photograph shows a group of thirty military men, standing or kneeling, in dark uniforms with pillbox forage caps, round-collared jackets with light buttons, light sashes worn from top left shoulder to bottom right side of waist belt, and long, straight-legged trousers. Three of these men have light braid around the buttons on the front of their jackets, light frogging on their sleeve cuffs and stripes on the outside seams of their trousers. The other twenty-seven men have plain uniforms and are holding firearms in their right hands, steadied with their left hands. Other figures are standing behind this group of soldiers, including three or four men wearing top hats, jackets and ties. In the background is a row of buildings. The central building is three stories high. Bare hills are in the far background. The foreground is uneven ground with patches of short grass. Photographer looking towards the south east and Cannon Hill, with the Warrnambool Garrison facing north, ca.1860s.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glass plate, photography 19th century, colonial forces, military defence, volunteer act 1854, volunteer rifle, garrison artillery, volunteer corps, militia, militia garrison band, pillbox forage caps, helpmann, manifold and bostock, 1853 lee enfield musket, tintype, warrnambool garrison, 1860s, cannon hill, manifold & bostock, flour mill, 3-storey building

Used by the MMTB Supply Department for photograpy. Based on the wikipedia reference and the markings on top of the front face of the camera, made prior to the Second World War. Camera takes 120 film.Demonstrates the type of equipment the MMTB used to record their work, problems and to illustrate reports etc.Camera - metal frame, twin lenses folding view finder within a leather caseMarked "Melbourne Tramways Australia" on the top of the leather cover, and the full name of the MMTB , Melbourne Australia on one side of the camera.mmtb, camera, photography