The photograph that appears in this frame is a copy. The original is catalogued at 01314. Sgt David Hamilton Pruden, 404, enlisted from Newry and was killed at Koster River in the Trasnvaal on 21 July 1900, and was buried at Rustenburg cemetery. He is commemorated in a large tablet in the Stratford Mechanics' Institute. This photograph originally hung in the Stratford Mechanics' Institute. A framed sepia copy photographic print of a head and shoulders portrait of a young man in dress uniform of the Victorian Mounted Rifles, labelled Pte D.Pruden and presumed to be David Hamilton Pruden, who died in Africa during the Boer War. The frame, of crossed wooden bars with decorative metal at each crossing, appears to be commercially produced. Backing support for the frame is a section of an 1893 calender for an unknown insurance firm, agent J.B Kelly at Stratford, which has been detached for separate cataloguing.boer war 1899-1902

Yields information about the activities undertaken on the BTM to celebrate a persons birthday - Simon Jenkins.Series of two colour photographic prints by Carolyn Dean / John Phillips of the celebration of Simon Jenkins Birthday on 21/10/1995. .1 - Simon standing in front of 661, with a suitable destination - photo C. Dean. .2 - At gardens Loop - Len Millar, Darren Hutchesson, Alastair Reither, Paul Mong, Travis Jeffrey, Carolyn Dean, Simon Jenkins, Richard Gilbert, Greg Rodgers, Clayton Giles, Monica Campbell. - photo J. Phillips Printed on Fujicolor paper.On the rear in ink "21.10.95 C. Dean or J. Phillips"btm, depot, celebrations, tram 28

An e.21st century digital print on canvas, of an original 1886 sepia photographic print, and of the paper label beneath. Image features a group of men, women, and a child, seated or standing along a wall, continuing up the stairs located behind it. Many of the participants are holding tennis racquets. Image was taken in Hyderabad, British India. Inscription across the label section below: HYDERABAD WEEK. 1886. Materials: Canvas/Cotton, Ink, Wood, Metal, Paper, Paint, Linentennis

Taken during World Ward 1, the photo features a soldier, HJ Ronald, holding a rifle in front of a building and fencing.This photograph is historically significant as it provides insight into the uniforms worn during the early 20th century and World War 1 period.Black and white rectangular photograph printed on photographic paper and mounted on a beige card.Obverse: H. J. Ronald / Reverse: Donated by George Ronald / 5899 (crossed out) / Dufty Bros Photographers / 237 High Streetmilitary album, burke museum, beechworth, beechworth museum, world war one, wwi, solider, wwi solider, hj ronald

11 of the 13 photos were taken by Tor Holth and used in his book "Cattlemen of the High Country" first published in 1980. Co writer was Jane Holth (Barnaby). Of the other two photos, one was taken by C. Roper (2 old gentlemen of the High Plains) and the other (Fred Roper, Tom Hollonds, Kyran Marum - early cattlemen) unknown photographer. The book tells the story of the lives of the mountain cattlemen of Victoria's high country, the harsh conditions and challenges they faced when they mustered their cattle before winter to bring them down to lower pastures. Huts were built of any materials available and were scattered about the high plains to provide shelter from the elements. Some are still standing despite the many bushfires that have ravaged the area.The photographs are of historic significance as they are of early pioneers in the cattle industry in the Kiewa Valley. The huts are of significant interest as they show different types of construction and materials as does the cattle yard at Bogong Jack's. All 13 photos are black and white and printed on photographic paper and are of varying size. 1.On the back, hand written in pencil - "Bogong Jacks hut on Fainter Spur". 2.15 in top right hand corner and 120% centre of photo and circled. 2.On the back a typewritten label cut out and fixed with sticky tape "45 b.&w. Cope Hut, known also as the Menzies of the high plains." Lower left corner is a handwritten label, written in red biro, COPE HUT (underlined) V circled and Journeys into History. 3. Top right hand corner '2.32(a) and across the back, written in pencil, 'Wallace's Hut 1976' and 'TOR HOLTH' in red biro on small sticker lower R corner. 4.2.32(c) in pencil top R corner. 'Wallaces Hut 1976' in pencil across back of photo. 5. '42.7a' in pencil top R corner. Written in pencil across back of photo 'Remains of the second Tawanga Hut.' 6. 'Jim Edmundson Mt. Beauty' handwritten in blue biro across back of photo. 7. '2.26' in pencil top R corner. 'Cattle yard at Bogong Jack's' handwritten in blue biro across back of photo. 8. 'Jim Edmondson of Edmondsons hut' written in pencil on back of photo. 9. 'Geoff Wallace Kergunyah' written in pencil on back of photo. 10.' Geoff Wallace Kergunyah' handwritten in pencil on back of photo. 11. 2.11 in pencil top R corner. 'Fred Roper & Jack Platt. Ph. C.Roper' handwritten in orange pen and under, in pencil, '2 old gentlemen of the High Plains.' 12. Written in black pen across back of photo 'Left to right Fred Roper, Tom Hollonds, Kyran Marum - early cattlemen' 13. Hand written on back of photo 'Sid Ryder' photos, cattlemen, high plains, huts

Black and white photographic print of four tennis players at the net on a tennis court. Wimbledon Mixed Doubles Final 1934. Handwritten on back of print: 'Dorothy Round, Eileen Whittingstall, Bunny Austin, Miki''. Actually it is Dorothy Shepherd-Barron, not Whittingstall, and Miki is Ryuki Miki, Japanese player. Miki and Round were victorious. Part of collection of photos taken/owned by Australian player D.P. Turnbull - found in collection in a vinyl album marked 'Photos by D P Turnbull'.. Materials: Paper, Photographic emulsiontennis

Bromide of a black and white photograph of Ballarat No. 34 at the Lydiard St. North terminus. Photo probably taken shortly before closure. Tram has destination of "Sebastopol". Has waiting shelter behind. Photo looking south. Shows pan arrangements at terminus. Bromide made c1994 for possible publication, but not used. Source of original photographic print not known at time of archiving. Note Reg. Item 1023 of 34 in Lydiard St. North. Tram does not have advertising - photo could be at the same time and same photographer.trams, tramways, lydiard st. north, terminus, tram 34

This collection of photographs produced by Murray Views, Gympie, features eight scenic black / white photographic prints of Orbost and surrounding tourist areas.Photographs like these allowed tourists to send many images of their holiday destination or hometown in the one small package. Fred Murray opened Murray Studios in Gympie in 1906. The postcard and souvenir production side of the business initially covered Gympie and surrounding regions, but Murray expanded the business to include North Queensland, NSW and even Adelaide. It was opened under a separate name, Murray Views, in 1929. In 1945 the business was taken over by Murray’s nephews who began postcard folder production.These photographs are a useful research material.A white envelope with green and white print containing eight photographs of the Orbost area. It is titled For Your Album Murray's Snapshotssouvenir photographs-orbost postcards

Photograph of the intersection of Flinders and Swanston Sts featuring the Flinders St Station building - c1926?? features a very busy intersection cable trams (No. 17 west bound in Flinders St), tram 160 north bound in Swanston, two W class trams, other cable trams, many motor cars, horse drawn vehicles, cyclist and pedestrians. Note the standing zone in Flinders St. In photo are Young and Jacksons Hotel, Bacchus Marsh Concentrated Milk table cream, and numerous signs on the railway station. See Reg Item 5272 for the photo on a Greetings Card and 103 for a framed photographic print.Yields information about the intersection of Flinders and Swanston St c1926 - after the conversion of Swanston St.Black and white photograph with notes on the rear. Two copies held.Has "1926 Brimson VicRail" in ink along lower edge on rear and "H4505" in the middle of the print back.trams, tramways, flinders st, swanston st, cable trams, flinders st station

activities, education program, eltham district historical society, eltham primary school, eltham state school no. 209, local history centre, school group, harry gilham, jim connor

Black and white photographic print of six men in suits standing in a row, one with a bunch of tennis racquets at his feet. Three are Japanese players, probably Ryosuke Nunoi, Takeichi Harada and Jiro Sato(h). Australians are Jack Crawford and the other two possibly Ray Dunlop and/or Harry Hopman. Probably 1932 Japanese visit to AUstralia to play test. Part of collection of photos taken/owned by Australian player D.P. Turnbull - found in collection in a vinyl album marked 'Photos by D P Turnbull'. Materials: Paper, Photographic emulsiontennis

A bridge to Walmer Street, Kew, from Abbotsford was located at the northern end of Burnley Street. It was a foot bridge.Photographic print of the Walmer Street Bridge. The view of the Bridge is from the Abbotsford side of the Yarra. A section of pipe on the near side of the bridge is a remnant of the irrigation pipes that carried water from above Dight's falls to the Melbourne Botanic Gardens. The former bridge, constructed in 1896 was swept away in the 1901 Flood. It has two major brick piers while the remainder of the trestle supports are metal. The original photograph from which this copy was made was taken after 1901 as it shows the second bridge under construction. Houses in Young Street, Kew, can be seen on the far side of the river.Written on reverse: "Walmer St. Bridge. Erected 1896. Being rebuilt after 1901 flood damaged it. Houses on left are in Young St."bridges -- kew (vic.), walmer street bridge, melbourne botanic gardens

Photographic print of the Walmer Street Bridge. The view of the Bridge is from the Abbotsford side of the Yarra. A section of pipe on the near side of the bridge is a remnant of the irrigation pipes that carried water from above Dight's falls to the Melbourne Botanic Gardens. The former bridge, constructed in 1896 was swept away in the 1901 Flood. It has two major brick piers while the remainder of the trestle supports are metal. The original photograph from which this copy was made was taken after 1901 as it shows the second bridge under construction. Houses in Young Street, Kew, can be seen on the far side of the river.Reverse: " Walmer St footbridge 1901 being repaired after flood / Constructed 1892 substantially renewed in 1901 and in 1928 / Rebuilt in 1977 by Kew Council aided by State funding. Won for designer Martin Aylard a New Zealand award presented by the timber Research & Development Assoc / Site of Simpsons Road passenger foot ferry". bridges - yarra river -- kew (vic.), walmer street bridge -- kew (vic.)

Set of five colour photographic prints of the presentation and btm reps attending the Museum Accreditation Presentation on 15 May 1998 at the ABC centre, Melbourne. 839.1 - Richard Gilbert accepting our certificate from Ms Lorraine Elliott, MLA. 839.2 - Richard Gilbert and Warren Doubleday, holding the framed certificate 839.3 - Peter Winspur, Greg Rodgers, Richard Gilbert and Warren Doubleday 839.4 - as for 839.2 839.5 - as for 839.4. All photos by Carolyn Dean. John Phillips also attended - video. All prints on AGFA paper See Letter from MAP, dated May 1998On rear of all prints "Photo by Carolyn Dean"btm, museum accreditation, awards, presentations

Associated with Burgoyne's winery (Mt Ophir)Photograph of Mt Ophir cellar and surrounding country side. Printed on photographic paper (sepia) on cardboard mountOn small board near centre of picture: "Burgoynes Australian Wine"mt ophir, burgoyne's winery, mount ophir

The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. . Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the day.Small circular pressed tinplate button featuring a white map of Australia on a dark blue ground with the stars of the Southern Cross surrounding, all within a gold border. The phrase ‘I Will Help Until the War is Won’ is printed in red across the mapI will Help until the war is won

Peta Clancy is a descendent of the Bangerang people from South-Eastern Australia. She explores hidden histories of colonisation in Australia. Through manipulating photographic prints, she reconstructs these hidden histories in a contemporary setting. In 2018, Clancy was awarded the inaugural Fostering Koorie Art and Culture grant from the Koorie Heritage Trust. The grant enabled her to collaborate with the Dja Dja Wurrung community to create a body of work investigating massacre sites on Dja Dja Wurrung country. The exhibition Undercurrent at the Koorie Heritage Trust focussed on a massacre site submerged under water. Clancy says of the exhibition and this work: ‘I explored this site as a metaphor for the hidden history of many massacres throughout Australia and the denial of this aspect of our history and the trauma these sites evoke’.

This is a set of 24 photographs of Air Survey Squadron technicians capturing topographic Features with a Wild B8 stereo plotter and operating AUTOMAP 1 equipment at the Army Survey Regiment at Fortuna, Bendigo, 1980. 17 of these photographs were taken of SPR Nick Van Dalen and SPR Santina (Argetto) Straube capturing topographic features – plotting with a Wild B8 stereo plotter were most likely taken in 1980. See item 6185.4P for black & white copies of photos of SPR Santina (Argetto) Straube operating the Wild B8 stereo plotter. Refer to item 6204.8P for detailed information and additional photographs of the Wild B8 stereo plotter. The history of the AUTOMAP 1 system is covered in more detail with additional historic photographs in pages 116-118 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. See items 6122.20P, 6183.19P, 6184.20P, 6200.5P, and 6222.17P for additional photographs of the AUTOMAP 1 system.This is a set of 24 photographs of Air Survey Squadron technicians capturing topographic features with a Wild B8 stereo plotter and operating AUTOMAP 1 equipment at the Army Survey Regiment at Fortuna, Bendigo, c1980. The photographic proofs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographic proof prints were scanned at 600 dpi. .1) to .8) Photo, black & white, 1980. SPR Santina (Argetto) Straube operating a Wild B8 stereo plotter. .9) to .17) Photo, black & white, 1980. SPR Nick Van Dalen operating a Wild B8 stereo plotter. .18) to .24) Photo, black & white, 1980. CPL Gerry Gunn undertaking AUTOMAP 1 computer system duties..1P to .24P – no annotations.automap 1, royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, photogrammetry

After the flood damage of 1934, the bridge was repaired with a new section in the middle. This bridge remained largely unchanged until its final demolition in 1975 after construction of the new concrete bridge and Orbost by-pass which exists today. This photograph is one of a collection of photographs produced by Murray Views, Gympie. It features eight scenic b/w photographic prints of Orbost and surrounding tourist areas.Photographs like these allowed tourists to send many images of their holiday destination or hometown in the one small package. Fred Murray opened Murray Studios in Gympie in 1906. The postcard and souvenir production side of the business initially covered Gympie and surrounding regions, but Murray expanded the business to include North Queensland, New South Wales and even Adelaide. It was opened under a separate name, Murray Views, in 1929. In 1945 the business was taken over by Murray’s nephews who began postcard folder production. This is a pictorial record of an early bridge across the Snowy River at Orbost.A black / white photograph / postcard of the Snowy River Bridge at Orbost.on front bottom printed - Murray Views No.4 Traffic Bridge , Snowy River, Orbost, Vic.orbost-snowy-river-bridge

The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. The women of Kew set up a kiosk in front of the Post Office and the Railway Station to solicit their round, oval and square shaped wares. Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the dayWorld War I-era pressed tin fundraising button. The button features the French flag and a red cross over a starburst, against a gold background. Encircling the image is a white ring with the text ‘French Red Cross’ in blueFrench Red Cross

Original photogaphs have been removed from frame and are catalogued at 1311, 1312. The frame has long been considered to be the work of Vera Mayhew, a well-known exponent of chip carving. The original photographs are catalogued elsewhere as: 01311: An early copy sepia photographic print pasted to cardboard of four men in military uniform, three wearing caps, one bare-headed. They are, standing, Pte Weir, Pte Tweedie, seated Pte Beecher, Pte Cochrane. They known to have been members of the Victorian Mounted Rifles, but the uniform is unusual for that group. They are wearing different leggings, and their belts cross their right shoulder, not the left. They wear a piece of cloth with diagonal stripes across it pinned above their left pocket. In all, it suggests a photograph taken, possibly in South Africa, in their battle dress, and possibly after a team game. William Hamilton Weir was invalided back to Aust, arr. 5 June 1901; James Tweedie 287 Pvt Stratford, prom. to Corporal 20 March 1901, listed in fallen for World War 1; Private J.A. Beecher also had brothers who served (see P00179B). Pte William James Cochrane 309, prom to Lance Corp 10 April 1900, Corp 16 Nov 1900, apparently ret. to Aust, appt. commander No 1 Troop Wangaratta, ret to South Africa in 5th Contingent as Lieutenant, became a member of 6th Batt. Aust Commonwealth Horse, ret. to Aust. 7 Aug 1902. 01312: A first generation sepia photographic print of four men in Boer War Uniform. They are, standing, Pte H. Beecher, Pte A. Beecher, Pte Josh Jones, seated Sgt Pruden. They are all wearing standard Light Horse uniform, with slouch hats. Shoeingsmith Henry Ward Beecher 556 was invalided back to Aust., arr. 9 May 1901; Trooper George Andre Beecher 557; Josh Jones is possibly John Joseph Jones 434 of Stratford. Sgt Pruden was killed in action. These photographs originally hung in the Stratford Mechanics' Institute.A chip-carved wooden frame with reproduction photographs of Stratford men in uniform similar to Boer War uniform.boer war 1899-1902, craft, handcraft

MEDIUM: Photograph/Print DESCRIPTION: Photographic collage Black outer frame with glass Image and white board inner frame under glassSigned and dated; proper left corner on white board under imagephotograph, de, print, me, roach, catch, if, you, can

The Installation of the Chancellor Professor Emeritus David Edmund Caro, AO, OBE as the second University of Ballarat Chancellor took place on 28 October 1998 at the Lydiard Street Uniting Church, corner of Lydiard and Dana Streets, Ballarat.Nine colour photographic prints taken at the installation of the second University of Ballarat Chancellor, Professor Emeritus David Caro, AO, OBE. .1) Governor Sir James Gobbo greets David Caro .2) Father Rupert O'Down in blue hood .3) Michael Ronaldson in suit, Mary Akers in grey hood behind man in red. Gabrielle McMullan in blue and pink gown (left) .5) Vice Chancellor David James (left) speaks to Governor Sir James Gobbo .6) Academic Procession in Lydiard Street, Ballarat .7) University of Ballarat Mace followed by David Caro and Sir James Gobbo. (Bill Pryor on far right) .8) Chancellor David Caro and Mace holder .9 Janet Dawe stands with Bagpipe players outside the Ballarat Club. caro, david caro, gobbo, james gobbo, governor of victoria, chancellor, university of ballarat, william pryor, michael ronaldson, gabrielle mcmullin

Store was located opposite Dudley Street. Note various signs for Electrine Candles, Baker, Cadburys Cocoa, Cadburys Chocolate (in window) and Refreshment Room (faded). Edited version of print/digital file sourced from State Library of Victoria: Title: Lloyd's Store, Eltham, [Vic.] [picture]. Date: [ca. 1916-ca. 1922] Description: 1 photographic print : gelatin silver ; 6.6 x 10.8 cm. Copyright status: This work is out of copyright Terms of use: No copyright restrictions apply. Identifier(s): Accession no:H86.93 Subjects: Eltham (Vic.) -- Buildings, structures, etc; Victoria -- History -- 1901-1922; Gelatin silver prints Index terms: Shops; Victoria Notes: Title inscribed in ink on verso. Photographer unknown. Undated, date range provided by donor. Contents / Summary: Looking across street towards weatherboard store with porch at doorway, signs painted on front of store read: Electrine Candles. Source / Donor: Gift; Mrs. Nancy Graham; 1986.Copy of sepia photographbaker, cadburys chocolate, cadburys cocoa, lloyd's store, refreshment room, slv, shops

Most of the civic and sporting ephemera assembled by Francis Rigg were patriotic buttons. The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. The women of Kew set up a kiosk in front of the Post Office and the Railway Station to solicit their round, oval and square shaped wares. Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the day. The badges form part of a collection of ephemera originally purchased by Francis Horace Rigg (19/10/1882-05/03/1946) of 50 Belford Road, Kew (Vic.). Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and badges was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg during the Gallipoli and Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the badges are patriotic buttons, issued and sold during and immediately after World War 1 to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.The use of common symbols for a range of purposes is sometimes a feature of wartime and post-war fundraising buttons. Like the ‘Hospital Day 1919’ badge, the ‘Come Back to God’ badge is within a seven pointed star on a dark blue ground with sprays of wattle; attempting to harness nationalism with religion.Come back to Godbutton

Most of the civic and sporting ephemera assembled by Francis Rigg were patriotic buttons. The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. The women of Kew set up a kiosk in front of the Post Office and the Railway Station to solicit their round, oval and square shaped wares. Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the day. The button forms part of a collection of ephemera originally purchased by Francis Horace Rigg (19/10/1882-05/03/1946) of 50 Belford Road, Kew (Vic.). Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and badges was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg during the Gallipoli and Beyond Commemoration. The collection covers a period of almost 40 years. The majority of the badges are patriotic buttons, issued and sold during and immediately after World War 1 to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Round metal button in red, white, blue and gold showing a sun setting over the sea with words printed in red around border and on lower outer rim.hospital day, patriotic buttons, first world war (1914-18)