Black and white photograph. (Photo by Peter Paynes, Ringwood Studios.)Written on back of photograph, "J. Kirby, President, H. & A. Society showing Charles Howitt the Your Garden Shield to be competed for by the shopkeepers for the best window during the Floral Festival in March. 'Mail' 20 February 1958."

P0099c appears to be restored version of original photoWritten on backing, "Lyell Owen MacKinlay". Front of backing sheet lists photographer as "Eden Photo Studios, Melbourne".

Written on back of photograph, "Mr. Ken Ham". Photographer listed as "Peter Payens of Ringwood Studios".

Written on back of photograph, "V. Hopkins, first manager, Eastland". Photographer's stamp reads, "John Warlow Studio, Commercial Photographic Illustrators, ...Melb."

Written on back of photograph, "May 14th. Mr. F. Lord, Dandenong, Miss R. Storey, Hobart St. Ringwood.Photograph by The Ringwood Studio...."

Written on back of photograph, "Jenny Young and David Young partner, deb. ball". The inscription does not indicate which couple are Jenny and David Young. Also on back of photograph, "Peter Payens of Ringwood Studios"

Written on back of photograph, "Debutantes and partners - Mitcham Scottish Ball, Ringwood Town Hall, Thursday 5th June ?" "Please acknowledge Geoffrey Baker Studios, Midway Arcade, Ringwood".

Written on back of photographs, "Mr. and Mrs. Bert Milne, Ringwood Old Timers. Sec. M.U.I.O.O.F. for many years". Stamp on back of photograph reads, "Geoffrey Baker Studios".

Black and white photograph.Written on back of photograph, "President Mr. Carter, being congratulated by Past President Mr. Peck. 'Mail' 1/8/1956. Mr. Carter elected President for 1956. Photo by Peter Payens of Ringwood Studio".

Black and White Photograph (2copies) and list of staff names. Catalogue card reads, '1960. Council Staff when Ringwood was declared a city, March 1960'. One copy has stamp of "Peter Payens of Ringwood Studios". Second copy has stamp of Brian Pump. On separate typed sheet: Typed below photograph, "Ringwood City Council Staff - 1960". Typed sheet in sleeve lists the staff in photograph and reads, "Photograph of Town Hall staff taken on the occasion of Ringwood being proclaimed a CITY 1960. Standing (back row left to right) Robert Moore (Rates Office), James Allen (Health Inspt), Robert Glassford (Eng. Asst.), James Rouse (Rates), Howard Tyrell (Dept. City Engr.), Jozsef Benzinger (Supt. Parks & Gdns.), David Wilson (Eng.) and Jeffrey Porter (Eng.). Second Row down, Wally Ross (Traffic Insp), Murray Jones (Eng.), Jim Clerk (Bldg. Insp.), Ernie Dall (Bld. Dept.), Jim Johnson (Rates), Les Steeth (Dog Ranger), Billy Duff (Hall Kpr). Clarrie Burns (Works Supt.), Keith Gore (Ch. Hall Kpr).Second row up from bottom - Marg McAdam (Health Ctre), Gwen Collocott (Rates - Accts. Machinist), Mabs Cleverly (Sec. D.T.C.), June Eyres (Steno), Nancy Gibson (H. Help), Judy Hubbard (Steno), Hazel Lyons (Sec. C/Eng.), Wilhelmina van Wijngaarden, (rates), Sr. Hildebard Weinroider (Health Care), Maureen Charlwood (Telephonist).Bottom row - Sr. Edna Ahlslton (Health Care), Lindsay Ewart (Rate Colltr), Jean Matthews (Sec. T/C.), Vic Faravoni (D.T.C.), Dr. Wm. Hewitt (Med.O.Health), Fred Dwerryhouse (Town Clerk), Alan Robertson (City Eng.), Ray Forde (Con.Eng.), Kit Gurling (typist/engrs.), Des Steele (Bldg.Suryor), Sr. Linda Turnley (Health Centre-H'mont).

Catalogue card reads, 'Wedding. Miss N. Williams - Mr. G.A. Oddie, Whitehorse Road, Ringwood. Married at Trinity College Chapel, December 14th [no date]'. Written on back of photograph, 'Photo by Peter Payens, Ringwood Studios'.

Councilor D.L.White was elected to Ballarat Shire Council in 1957 serving till 1960. Original Historical photo of Councilors for the year 1959.Councilor D.L.White, Sepia rectangular photo on white mount, situated third from right, of top row of composite photo of all councilors for the year 1959. Collection of photos of Councilors, commemorating opening of Wendouree Municiple Centre 20th November 1959.ballarat shire council 1959, white d l councilor, opening wendouree munciple centre 20th november 1959

Councilor E.Edwards (J.P), was elected to council in1951 and served till 1970. He was Shire President in 1957-58 and 1965-66.Original Historic Photo of all councilors for the year 1959.Councilor E. Edwards,(J.P.).Sepia photo, on white mount,situated second from right,top row of composite photo of all Councilors for the year 1959.Photo of all councilors 1959, commemorating opening of Wendouree Municiple Centre 20th November 1959ballarat shire council 1959, wendouree municiple centre opening 20th november 1959, e edwards j p

Councilor H.A.Patterson was elected to council in1953 and served till 1964. He was Shire President in 1961-62 .Original Historic Photo of all Councilors for the year 1959. Councilor H.A.Patterson, sepia photo,on white mount, situated right hand end of top row of composite photo of all councilors for the year 1959.Photo of all Councilors for 1959, commemorating the opening of Wendouree Municiple Centre 20th November 1959.patterson, h a, wendouree municiple centre opening 20th november 1959, ballarat shire council

Councilor A.C.Martin was elected to Ballarat Shire Council in 1957 serving till1960.Original Historic photo of all councilors for the year 1959.Councilor A.C.Martin,sepia photo,(rectangular),on white mount,situated second from left,middle row of commposite photos of all councilors for the year 1959.Presented by Ballarat Shire President Charles Edward,"Ted", brown to commemorate the opening of the Wendouree Municiple Centre,20th November 1959.ballarat shire council 1959, wendouree municiple centre opening 20th november 1959, martin a c councilor

Councilor A. McDonald was elected to council in 1960, serving till 1980. He was Shire President in 1969-70.Original Historic photo of all Councilors and staff for 1959-60.Sepia photo(rectangular),on white mount,of Councilor A.McDonald,situated right hand side of top row ,forming part of composite collection of photos of all councilors and staff for 1959-60.Presented to the Ballarat Shire Council by Councilor C.E.Brown (J.P.),President 1959-1960.ballarat shire council 1959 60, a mcdonald 1960 1980

Part of the Uebergang Collection. Made by the firm of Triaca & Picchi. Camilo Triaca (1887-1972) was a sculptor born Tuscany, Italy. He arrived in Melbourne in 1909 and practised his craft in Richmond, Melbourne, before returning to Italy in 1914 to serve in the Italian Army. He returned to Melbourne in 1923 and continued to sculpt at his Richmond home before relocating to Fitzroy. A 1927 image of workers at his studio workshop taking a lunch break is in the Italian Historical Society collection (http://trove.nla.au/version172106091). The workshop was situated at 76-78 King William St, Fitzroy.Plaster figurine depicting a boat with a girl sitting in the front holding the rope of an anchor and a boy holding the back of the boat which is up on the sand. The girl wears a short sleeved frock with green edged neck and sleeves, and a matching scarf. The boy wears a V-neck shirt with sleeves rolled up.Triaci & Picchi/1773triaca camilo, triaca & picchi, italian immigrants, families, businesses, trades, sculptures, sculptors, melbourne, allansford, uebergang

Photo taken to celebrate Waubra Football Club becoming the 1922 Premiers,Sepia colour photo on a dark brown cardboard mount of Waubra Footballers.WAUBRA PREMIERS 1922.waubra victoria.football club premiers 1922.sporting events

In the 19th and early 20th centuries, J. & G. Meakin were important, large-scale producers of good quality, ironstone tableware (‘White Granite’ ware) that met a ready market in the United States, South America, Australia, and other traditional British markets. By the 1890s the company was one of the world’s largest earthenware manufacturers. Although export teaware and tableware was the factory’s staple commodity, Meakin also manufactured toilet ware, kitchen ware and a wide range of fancy earthenware. The company was amongst the first British pottery firms to experiment with modernist designs associated with the art deco period. The Moderne' range was introduced in 1929 consisting of an angular shape decorated design with geometric patterns and often highlighted with silver or gold. This range remained in production through the 1930s. Post 1945 the company introduced the streamlined Studio shape (1953) and Horizon shape (1955) both heavily influenced by the Russell Wright ‘American Modern’ tableware. In 1964 a new Studio shape was released with tall streamlined coffee pots used as the background for many contemporary patterns now associated with the 1950s and 1960s. Designs by Jessie Tate and Eve Midwinter, some originally found on Midwinter shapes, also appear on 1970s Studio ware. The Studio range was one of Meakin’s most successful and continued in production until the late-1970s. The enormous range of floral, geometric, and abstract designs make Studio Ware collectible in its own right. In the 1970s and 1980s as part of the Wedgwood Group Meakin produced contemporary products under the ‘Bull in a China Shop’ and ‘Creative Tableware’ names. ‘Sol’ (c.1912-1963), ‘Studio’ (1953 on) and ‘Royal Staffordshire’ (post 1968) were important J. & G. Meakin Ltd trade names. Meakin marks are numerous, but all include the J. & G. Meakin name. The significance of this item and pottery generally is that often earthenware is portrayed as being a landmark in the evolution of humanity. This is because these items are the few things from the past that have survived in a tangible form. Pottery is an important functional part of society and it has a critical role to play as it helps archaeologists to date other artefacts of the same time period. Also, the decorations on pottery have told much about the beliefs, lifestyles and lives of the people who bought them and used them. In other words it gives us today a snapshot of society from the past and how people used these items in their daily lives, their likes as well as societal and design trends. Earthenware white glazed ironstoneJ & G Meakin Hanley England stamped to base, with white flora designwarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pottery, earthenware, iron stone, alfred meakin, james meakin, george meakin, earthenware manufactures, chamber pot

An information flyer on acqua studios accommodation in Marysville.An information flyer on acqua studios accommodation in Marysville.acqua studios, marysville, victoria, australia, information flyer, accommodation

An early black and white photograph of the Big Tree in Cambarville in Victoria.An early black and white photograph of the Big Tree in Cambarville in Victoria. It was, at one stage, known to be the tallest hardwood tree in the world standing at 92 meters (301ft, 6 inches). However, it was reduced to 84 meters by a wind storm in 1959. It is a mountain ash. There is a walking track through the forest to the Big Tree.SUTHERLAND/ STUDIO/ HEALESVILLE Tall Trees at Cumberland/ Dec 1935big tree, mountain ash, cambarville, victoria, photograph

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A letter written to Maurice Keppel by John William Lindt in 1903.A letter written to Maurice Keppel by John William Lindt in 1903. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913. Maurice Keppel, from Ireland, was one of the first landholders in the newly surveyed town of Marysville in 1864. He and his wife ran the successful Keppel’s Australian Hotel. Two of their sons, John and Jerry, established a farm and opened up the surrounding high country. The Keppel lease was one of the longest held in the high country and the Keppel Family were amongst Marysville's pioneering families.maurice keppel, keppel family, keppel's australian hotel, marysville, victoria, john william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A digital copy of a black and white portrait of Nicholas John Caire.A digital copy of a black and white portrait of Nicholas John Caire. Nicholas John Caire was born in 1837 in Guernsey. He arrived in Adelaide about 1860 along with his parents who encouraged his early interest in photography. He opened a studio in Adelaide in 1867 after traveling extensively throughout the Gippsland taking photographs. After marrying in 1870 he moved to Talbot in Victoria until 1876 when he opened a studio in the Royal Arcade in Melbourne. After 1885 Nicholas John Caire gave up his city work and made his home in South Yarra and devoted the rest of his life to outdoor photography, specializing in the bush, the gullies, and the mountains of south-eastern Victoria. nicholas john caire

A digital copy of a black and white portrait of Nicholas John Caire.A digital copy of a black and white portrait of Nicholas John Caire. Nicholas John Caire was born in 1837 in Guernsey. He arrived in Adelaide about 1860 along with his parents who encouraged his early interest in photography. He opened a studio in Adelaide in 1867 after traveling extensively throughout the Gippsland taking photographs. After marrying in 1870 he moved to Talbot in Victoria until 1876 when he opened a studio in the Royal Arcade in Melbourne. After 1885 Nicholas John Caire gave up his city work and made his home in South Yarra and devoted the rest of his life to outdoor photography, specializing in the bush, the gullies, and the mountains of south-eastern Victoria. N.J. Cairenicholas john caire