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Bendigo Historical Society Inc.
Newspaper - JENNY FOLEY COLLECTION: WORKERS
Bendigo Advertiser ''The way we were'' from Friday, December 17, 2004. Workers: taking a break from work in July, 1903, were the employees of the Central Ellesmere at Fosterville. The clip is in a folder.newspaper, bendigo advertiser, the way we were -
Bendigo Historical Society Inc.
Newspaper - JENNY FOLEY COLLECTION: HAYSTACKE POLES
Bendigo Advertiser "The way we were" from Monday, April 18, 2005. Haystack Poles: Horses and dray were used to move these logs felled in the Rheola or Bealiba region. Date unknown.newspaper, bendigo advertiser, the way we were -
Wodonga & District Historical Society Inc
Photograph - Fred Rochow Railways Collection - Shelley Station
The Fred Rochow Railways Collection incorporates photos related to the operation of the Wodonga Railway Station including different types of trains and railways staff C. 1930 – 1990. It was donated to the Wodonga Historical Society by Fred Rochow, a railwayman who spent many years based in Wodonga. He joined the Victorian Railways on 17th June l947 and retired in 1988. For some time, he was a member of the Australian Federated Union of Locomotive Enginemen and served a term as a member of the Trades Hall Council. He had an extensive knowledge of the struggles that took place to achieve better conditions for railway workers. Fred worked for many years as a fireman and then worked his way up the ranks to driver, experiencing many changes from the days of steam locomotives through to diesel trains, locomotives and even the modern XPT train. He worked throughout Victoria at different stages of his career, with his final working years focused on the northeast of Victoria and the Albury to Melbourne line. After his retirement, Fred continued to share his love of steam miniature trains with the community. Shelley Railway Station - Shelley was once Victoria's highest railway station, located 781 metres above sea level. The Shelley Railway Station was opened in 1916 and closed in 1979. The railway was used early in its life to transport farmer’s livestock from the Upper Murray to Wodonga. From the 1950s the railway was used heavily to transport equipment and machinery from Wodonga to the Upper Murray to help build the Snowy Mountains Hydro Electric Scheme. The Snowy Hydro Scheme was completed in 1974 and after several years of low level use, the railway was closed. Some remnants of the Shelley Station passenger platform can still be seen today, along with some information boards. The Shelley Railway Station now forms part of the High Country Rail Trail.This collection has local and statewide significance as it captures images of trains, locomotives and personnel who operated the railway services in Wodonga and throughout Northeast Victoria. The railways played a critical role in opening up Victoria and connecting Australia for trade, business, social communication and transport.Shelley Railway Station. This image shows the tank where the hand brakes were lifted. They were applied again at the "up" side of Koetong for about another 10 miles then lifted near Bullioh.railways wodonga, fred rochow, shelley station, high country rail trail -
Kew Historical Society Inc
Plan - Subdivision Plan, Rimington Nursery Estate, 1949
Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.The house lots in the Rimington Nursery Estate were advertised for sale on Saturday 22nd October 1949. The nine lots in the sale were in Stoke Avenue and Burke Road. Mathers & McMillan of 136 Cotham Road, Kew, offered the lots for sale. [The final sale of lots within the Rimington Nursery Estate occurred as late as 1958.]subdivision plans - kew, rimington nursery estate, monist victor road - kew (vic.) -
Kew Historical Society Inc
Footwear - Pair of Silver Leather Shoes, Charles Jourdan, 1970s
The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Pair of silver leather women’s shoes with two glass studded buttons at the front. The shoes were designed by Charles Jourdan of Paris expressly for Georges, Collins Street, Melbourne women's shoes, footwear, charles jourdan -- designer -- paris -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, Geoff Grant, 19/06/1955 12:00:00 AM
Black & White photo of M&MTB trams 988 and 1003 in Nicholson St, south of Albert St. intersection, testing overhead prior to opening of Bourke St. on 19/6/1955. Were the first and second trams on the line. Bus on right side of photo. Trees and park in background. Parliament Gardens out of view on right side. Negative scanned hi res and imaged updated 22/5/2020.On rear of photo in typed paper "988 stands while 1003 passes it on the Bourke St. route before any cars had started operating on this newly completed line. These cars were first and second cars to run over the line. 19 June 1955 Geoff Grant Photo." and "Geoff Grant" stamp in btm rh corner.trams, tramways, melbourne, bourke st, commissioning , tram 988, tram 1003 -
Melbourne Legacy
Photograph - Portrait, Legacy Co-ordinating Council, 2015
This collection of 48 portrait photos details all Past Chairmen of the Legacy Cordinating Councils from 1937 to 2015. The majority of these Legatees were from Melbourne Legacy ranks. The Office was located within the premises of Melbourne Legacy for a peppercorn rent and moved to Sydney during 2015.A record of the past Chairmen of Legacy Co-ordinating Council.Portrait photos of 48 Legatees detailing their names and years of service as Chairman, Legacy Coordinating Councils. For two Past Chairmen portrait photos were unavailable. In a black frame with clear glass. Names and years of service for the 48 Legatees that served as Chairman are detailed under photos of each. Plaque at the bottom centre of the Framed piece reads - "Presented by the Chairman Legacy Australia Inc. to the Melbourne Legacy Club. In appreciation of the generous support of the Legacy Coordinating Councils by providing office space and an executive from its ranks. For more than 76 years the Melbourne Legacy Club carried this significant responsibility for a grateful Legacy movement". October 2015. Names are: 1937-48 S G Savige 1948-51 WA Perrin (Bill) 1952 JC Gillespie (Jim) 1953-55 TM Cosh 1956-58 MJG Tonkin (Maurie) 1959-61 AW Paul 1961 Os Gawler 1963 ST Parkes 1964-66 Robert C Allison 1967-68 WC Radford 1969-71 IW Anderson 1972-74 GH Cowan 1975-76 HM Lewis 1977-79 RS Isherwood 1980 N Thomas 1981-83 AG Robertson 1984-85 EK Robertson 1986-87 KD Green 1977 and 1988-89 RJA Foskett 1990 KD Stewart 1991-92 JC Dean 1993-94 TC Bannister (Colin) 1995-96 Alf Argent 1997-99 IGC Gilmore 2000-01 BG Luscombe (Brian Lucky) 2002-04 Ray H Ward 2005-06 Graeme PA Riches 2007-08 David Grierson 2009-10 David WA Kelly 2011 J Pepperdine 2011-13 CM Wright 2014-16 D Graycoordinating council, past presidents, lcc -
Federation University Historical Collection
Book - Catalogue, Art by Wendouree ... Creative Endeavours, 2011
A booklet highlighting artists who were educated at Ballarat Grammar School.ballarat grammar school, artists, david thomas, john jones, bob bath, herbert werner frederick de nully, bob braszell, ross adams, tiffany ambler, rosemary anderson, clarice beckett, joanne blight, penny bryne, lloyd crump, roy dalgarno, margaret delahuntley spencer, mark douglass, john eagle, jennifer franklin, gilda gude, nornie gude, leila guyner, fiona hiscock, andeson hunt, ena joyce, robyn lea, kerrie leishman, jim mckay, james mcmurtie, john pasquarelli, julien phillips, mary rasmussen, rodney read, joanna ruchel, george seddon, sue sedgwick, beverley singleton, steve walsh, marshall white, naomi white, david williams, konrad winkler, laura woodward -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Message Form, 1940's
Four, paper, small message forms that were adopted in Sep 1943Army Form C2136 Small Message Formsignals, forms, message -
Federation University Historical Collection
Photograph - Black and White, E.J. Tippett, President of the Ballarat School of Mines Council
Brick School building with bell tower. Llewellyn and Edwards were the contractors. ballarat school of mines, ballarat school of council, president, e.j. tippett -
Bendigo Historical Society Inc.
Document - COHN BROTHERS COLLECTION: LIST OF HOTELS
List of hotel owned by Cohn Brothers or were licensed to deliver their beer to.bendigo, business, cohn bros -
National Vietnam Veterans Museum (NVVM)
Film - Film, DVD, Canberra 307 wings fitted: NVVM 28 July 2016 (Copy 1), 2016
A video taken on the day the Canberra 307 wings were fitted at the NVVM.national vietnam veterans museum, canberra (bomber) -
National Vietnam Veterans Museum (NVVM)
Film - Film, DVD, Canberra 307 wings fitted: NVVM 28 July 2016 (Copy 3), 2016
A video taken on the day the Canberra 307 wings were fitted at the NVVM.national vietnam veterans museum, canberra (bomber) -
National Vietnam Veterans Museum (NVVM)
Film - Film, DVD, Canberra 307 wings fitted: NVVM 28 July 2016 (Copy 4), 2016
A video taken on the day the Canberra 307 wings were fitted at the NVVM.national vietnam veterans museum, canberra (bomber) -
National Vietnam Veterans Museum (NVVM)
Film - Film, DVD, Canberra 307 wings fitted: NVVM 28 July 2016 (Copy 2), 2016
A video taken on the day the Canberra 307 wings were fitted at the NVVM.national vietnam veterans museum, canberra (bomber) -
Running Rabbits Military Museum operated by the Upwey Belgrave RSL Sub Branch
Photo
Delay action rifle used when troops were evacuating Gallipoli.photo, ww1, army -
Kew Historical Society Inc
Photograph, Football Team, Premiers 1931, 1931
Photograph of a football team and club officialsUnidentified football team photo. The team were premiers in their division in 1931.Allan Studios, 318 Smith St Collingwoodfootball teams, sports -- melbourne -
Nhill Aviation Heritage Centre
Memorabilia - Water bottle, 1942
Metal container with cork stopper, coated with soft fabric material to create evaporative cooling when wetted, has an adjustable leather shoulder strap.ZL&Tt, 1942 broad arrow military insignia. (Zephyr Loom Textile were a Canadian company.water bottle -
Whitehorse Historical Society Inc.
Decorative object - Egg Cup, 1917
Dedicated to the Patriotic Fowl.|Inside the cup.China Egg Cup. White china decorated with green laurel leaves with Royal Insignia.Made by the girls of Staffordshire during the winter of 1917 while the boys were fighting in the trenches for liberty and civilization.domestic items, crockery -
Rutherglen Historical Society
Image, The Bunyip Cricket Club, c1870
Photograph of a group of seven men and an Aboriginal youth. Thought to be a local cricket clubBlack and white photograph, mounted on cardboard, of seven men, a boy and a dogOn back of photo: "The 'Bunyip' Cricket Club | Wahgunyah [Wahgunyah crossed out] | (I think they were Moodemere)"cricket team, bunyip cricket club -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, 1952
Date made June 1952Black and white small format photograph of flood waters in Mechanics Street, showing extent of inundation around Mechanics Hall on left and having housing on right of image looking towards Cunninghame Arm. Lakes Entrance VictoriaOn reverse - Flood water near Mechanics Hall June 1952. The pumps were working when this was taken.floods, halls, houses, roads and streets -
Bendigo Military Museum
Photograph - Army Survey Regiment - Defence Force Service Medal Presentations, Fortuna Villa, Bendigo, 1992
These five photographs were taken at a formal Army Survey Regiment medal presentation at the lakeside of Fortuna on the 11th of December 1992. The CO of the Army Survey Regiment – LTCOL Bob McHenry presented the Defence Force Service Medal to five RA Svy personnel in recognition of 15 years of efficient remunerated service. They were SSGT Greg Byers, SGT Peter Hardy, SGT Garry Kerr, SGT Laurie Justin and WO2 Rhys De Laine. LTCOL Bob McHenry was the CO of the Army Survey Regiment from 1992 to 1993.These five black & white photographs were taken at a Defence Force Service Medal Presentation on the 11th of December 1992 at the Army Survey Regiment, Bendigo. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) Photo, black & white, L to R: SSGT Greg Byers and LTCOL Bob McHenry. .2) Photo, black & white, L to R: SGT Peter Hardy and LTCOL Bob McHenry. .3) Photo, black & white, L to R: SGT Garry Kerr and LTCOL Bob McHenry. .4) Photo, black & white, L to R: SGT Laurie Justin and LTCOL Bob McHenry. .5) Photo, black & white, L to R: WO2 Rhys De Laine and LTCOL Bob McHenry..1 to. 5P – annotations identifying personnel and the date provided on paper.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr -
Bendigo Military Museum
Photograph - Orthophotomap Workstation, Lithographic Squadron – Army Survey Regiment, Fortuna, Bendigo, 1988
This collection of four photos was most likely taken at Lithographic Squadron, Army Survey Regiment, Fortuna, Bendigo in 1988. Orthophoto mapping provided the Survey Corps with the capability to produce map products quickly in the event of a crisis. These are four photographs of equipment used by the Army Survey Regiment to produce orthophotomaps. The OR1 orthophoto projector and workstation was introduced in the mid-1980s. It was the second-generation equipment used to orthorectify colour and monochrome film aerial photography, replacing the system introduced in 1973. Orthorectification is the process of removing geometric distortions and scale errors/variations from images. Images have tilt and relief distortions that make it difficult to compare accurately a map and an image of the same geographic area. Once an image is orthorectified, features on the image are shown in their planimetric locations. These four photographs of orthorectification equipment in operation were taken at the Army Survey Regiment at Fortuna, Bendigo, 1988. The photographs were on 35mm negative film and were scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) to .4) - Photo, black & white, 1988, WILD OR-1 Orthorectification Workstation, SPR Carmel (Butler) Fauth.No personnel are identifiedroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho -
Bendigo Historical Society Inc.
Document - ANCIENT ORDER OF FORESTERS NO. 3770 COLLECTION: CORRESPONDENCE
Auditors report written on blue paper and dated June 29th 1863. Auditors were satisfied with the way the books were kept and found they were correct. They also report on the financial position and do not think it necessary to have a Special Levy yet. Signed by the Auditors Joseph King Smith, Hugh Brown and G I Murray.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, court king of the forest, savings bank, bro holl, joseph king smith, hugh brown, g i murray, glennon's commercial hotel -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: Asakusa 12-Story Tower with its Upper Floors Destroyed, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: burnt remains of Asakusa Kannon Temple, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: Fire in the middle of rain - National Sumo Stadium on fire, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: The situation is miserable, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: Keizen's after-disaster earthquake Daiichi Hamaki - overall view of Yokohama City, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: Bank in Chidoricho Hungama - Disastrous scene of Yokohama Honmachi Town. No. 1 Bank Building, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama