The Royal Commission into Institutional Responses to Child Sexual Abuse is investigating how institutions like schools, churches, sports clubs and government organisations have responded to allegations and instances of child sexual abuse. It is the job of the Royal Commission to uncover where systems have failed to protect children so it can make recommendations on how to improve laws, policies and practices. The Royal Commission is about creating a safer future for children. It can look at any private, public or non-government organisation that is, or was in the past, involved with children. This includes where an organisation caring for a child is responsible for the abuse or for not responding appropriately, regardless of where or when the abuse took place.(http://www.childabuseroyalcommission.gov.au/about-us, accessed 30/05/2015)A number of colour photographs that show chalk grafitti drawn onto the steps and paving outside the Ballarat Law Courts during the May 2015 sitting of the Royal Commission into Institutional Responses to Child Sexual Abuse.ballarat, ballarat law courts, royal commission into institutional responses to child sexual abuse, graffiti

This object is Magill's adaptation of the battery handle in the form of an "inserting tracheoscope". Introduced in 1935 for one-lung anaesthesia, it is combined with an endotracheal tube, the central part of which is a latex-covered wire spiral, and a bronchus blocker. In use, the tube was fixed to the holder and the whole apparatus inserted as a ttracheoscope. At the carina, the blocker was inserted into the bronchus and the balloon (now perished in this example) inflated. The holder was then removed leaving the endotracheal tube and blocker in place. The bronchus blocker consists of gum elastic on woven silver wire and has a suction channel opening at the tip. in other stages of development of Magill's laryngoscope, the original pattern blade was adapted to the battery handle, at first in a fixed arrangement and then with interchangeable blades of different sizes. Later still, the folding handle was introduced.This U-shaped chrome plated laryngoscope comprises an endotracheal tube used to facilitate access to the patient's airway, wire spring attachments and a cylindrical handle with provisions for battery to illuminate inside the body during use.Embossed on the central shaft of the item is 'A Charles King, Ltd', the maker's details.laryngoscope, anaesthesia, macgills, chrome, battery, a charles kind ltd

With the Japanese cities of Hiroshima and Nagasaki destroyed by atomic weapons, the will of the Japanese leadership was tested Emperor Showa of Japan announced his intention to surrender to the Allies unconditionally over public radio on 15 Aug 1945. The date of Japan's formal surrender was 2 Sep 1945, and it took place aboard American battleship Missouri in Tokyo Bay. There were other surrender ceremonies including that on Sept 6 1945. At 0900 hours, sloop HMS Hart picked up Hitoshi Imamura and Jinichi Kusaka at Kabanga Bay, who would sign the surrender documents aboard HMS Glory at 1127 hours which surrendered 139,000 remaining personnel at Rabaul plus all forces in Australian territory in the South Pacific. The surrender of Imperial Japan was announced on August 15 and formally signed on September 2, 1945, bringing the hostilities of World War II to a close. The surrender ceremony at Rabaul, New Britain took place on 6 Sep 1945 aboard the British carrier HMS Glory surrendering 139,000 remaining personnel at Rabaul plus all forces in Australian territory in the South Pacific. Light brown frame with glass, of a black and white photocopy. Script is very ornate and has Japanese lettering at the bottom. Instument of Surrender of Japanese Forces in New Guinea, New Britain, New Ireland, Bougainville and adjacent Islands. I the Commander in Chief of the Japanese Imperial Southeastern Army, hereby surrender to the General Officer Commanding First Australian Army all Japanese Armed Forces under my command in accordance with the Instrument of Surrender issued by the Japanese Imperial General Headquarters and Government and General Order No.1 Military and Naval issued by the Japanese imperial General Headquarters. I will henceforth and until otherwise directed by you or your successor carry out the orders issued by you or your staff on your behalf to the best of my ability and I will take action to ensure that my subordinate commanders carry out the orders issued by your representatives. Commander in Chief Japanese Imperial Southeastern Army. Received on board H.M.S. Glory off Rabaul at 1130 hours sixth day of September 1945. Lieutenant General General Officer Commanding First Australian Army.wwii, world war 2, imperial japanese army, japanese army, surrender, rabaul

Point to Sky is one of Akio Makigawa’s final works, the commission was completed posthumously. It is the only public artwork by the celebrated Australian-Japanese sculptor of this scale located in regional Victoria. You will see two stainless steel forms, a smaller more rectangle form and the towering geometric form, with seed pod shapes at the peak. These forms represent the house, the artist is expressing that home is a shelter and also a place for gathering. The house form grows into a tower to symbolise the achievements of mankind and the action taken to protect the rights of the community during the Eureka Stockade. The top seed pod is gold, referencing Ballarat as the centre of the gold rush in Victoria, as well as representing the sun as the source of life. The paving of the forecourt was designed in bluestone, typical of the work of Makigawa. Stainless steel panelling and shaping on armature. Set into raised platform of bluestone pavers.Point to Sky, 1999 / Akio Makigawa (1948-1999)/ stainless steel/ Born in Japan, Akio Makigawa arrived in Australia in 1974. He worked as a sail maker in Perth before studying sculpture at the Claremont School of Art and WAIT (now known as Curtin University). He moved to Melbourne in 1981 to do post graduate studies in sculpture at the Victorian College of the Arts and set up his studio. From 1984 he was involved in many public commissions in Victoria and interstate and Japan. / Commissioned by the Victorian Government and the City of Ballarat in 1999. point to sky, akio makigawa, modern, australian sculpture

The Wells of Beersheba is a short romanticized account of the Battle of Beersheba, which took place on 31 October 1917 in Ottoman Palestine during the First World War between the attacking mounted infantry of Australia and New Zealand and the defending Ottoman garrison. It was written by the Australian author Frank Dalby Davison who was not present at the battle, but had been in the British cavalry during the war. Much of the book, which is more fictionalized reportage than novella, and in which no single character is drawn, reflects the codependency of horse and rider and the shock of battle. This booklet was first published in 1933. It was originally published in Sydney in 1933 by Angus & Robertson under the title The Wells of Beersheba. An Epic of the Australian Light Horse 1914-1918, with illustrations by Will Mahoney. WW1 semi-fictional association with the Battle of Beersheba - 4th Light Horse Brigade Australian Infantry Forces. October 1917. Ottoman Empire Palestine. Booklet titled "The Wells of Beersheba" by Frank Dalby Davison and illustrated by Will Mahony. Semi Cardboard Cover with parchment paper internally. The cover has a light rose colored pattern surrounding the title, author and illustrator details. Front cover has title "The Wells of Beersheba" and author Frank Dalby Davison with illustrator Will Mahony. There is a light rose colored pattern on the front cover. the wells of beersheba - charge of the 4th light horse brigade., book - the wells of beersheba, ww1 battle of beersheba october 1917.

“Queenscliff (three black and white boat/ship themed set), is a depiction of a trio of sailing vessels, and a typical example of Tim Ryan’s process and style / It illustrates three images from separate editions of National Geographic – a much-loved and constantly revisited source of inspiration / Tim has reduced his subject matter to minimal line, managing to capture the form and character of the scene and the people within with delicacy and sensitivity / As is also a common trait, Tim has discarded the idea of a using a title describing the actual scenes in favour of one that holds much greater personal significance / Queenscliff is the site of his family holiday home, hence a place evoking decades of memories connected with water, horizon and water-based activity and interaction.Tim Ryan has worked within the Studio Art Program at Araluen for almost a decade / Araluen is based in the north eastern suburbs of Melbourne (Nillumbik region), that provides accommodation and day services for adults with an intellectual disability / Creating and sharing artwork is one way Araluen participants express their thoughts, personalities and abilities. The art program allows them to develop a sense of achievement and access society as equal and valued participants / Tim puts a great deal of effort into selecting his subject and arranging his page / He immerses himself in the image, studying it thoroughly and sometimes tracing over it with his finger before commencing / He focuses on the different elements and relationships that inspire, bringing out the lines, colours and shapes most fitted for translation into the picture / Favourite references are photo-laden books and magazines covering topics as broad as nature, history, archaeology, exotic foreign lands and all forms of transport.Three black and white drawings of boats/ships in Queenscliff made using watercolor, ink, fine liner, pencil and acrylic on paper. All drawings are black and white in colour with one drawing rendering a boat in warm red/orange and yellow colours. None shown, catalogue label on backdrawings / black & white / ink / boats / ships / queenscliff / araluen / ryan / disability

'Armytage House' formerly 'The Hermitage' a two storey Barrabool freestone ashlar and basalt rubble mansion was upon completion in 1860 one the finest colonial regency style mansion houses in Victoria. The Ionic portico and exquisitely proportioned, encircling wrought iron verandah is the most distinctive feature of this mansion, which is undoubtedly Edward Prowse's most impressive work. The mansion has considerable and important historical associations, firstly with the Armytage family, and finally with the Geelong C.E.G.G.S (1905-1973) (https://vhd.heritagecouncil.vic.gov.au/places/21747/download-report, accessed 25/03/2019) 03 May 1858 - Tender Notice in Geelong Advertiser 27 April 1860 - tender for iron gates 15 October 1860 - tender for stone wall and iron railing.armytage, armytage house, geelong, edward prowse, barrabook freestone, the hermitage

Ashbourne was the village of an historical event. At Ashbourne on 3 December 1745 Charles Edward Stuart declared his father James King of England, Wales and Scotland. Ashbourne is one of Derbyshire's fines and most vibrant market towns. It combines a wealth of historic buildings and shops. The Market Place is cobbles with hidden alleys and yards that lead to the carparks behind the main street. The wide and elegant Church Street is considered to be the finest street of Georgian buildings in Derbyshire. Tissington Hall and Village are in the nearby vicinity. Built by Francis Fitzherbert in 1609 Tissington Hall has been lived in by the Fitzherbert family ever since. The estate village has a number of micro businesses and a beautiful duck pond. Reference: Information from the Ashbourne Tourist pamphlet

A photo of a group of 7 men and 11 young men at Big Camp 1973, held at Lord Somers Camp. Big Camp was for older youths. The camps gave the children an opportunity of a summer beach holiday with other Legacy children. Melbourne Legacy provided camps for junior legatees - the children of deceased servicemen. It started with outings to the property of Legacy founder, Legatee Stan Savige, who had a place in Balnarring near the beach. Permanent camp buildings were built in 1930. In 1930 Lord Somers (Governor of Victoria) also started a camp at a nearby property and the area was renamed Somers. Legacy Somers Camps continued intermittently at Stan's property until it was decided in 1951 to make other arrangements for holidays.A record of Junior Legatee camps.Black and white photo of Legatees and senior boys at Big Camp 1973.Handwritten 'Somers Jan 73' in red pen on reverse.junior legatee outing, big camp, lord somers camp

A postcard to the Comradeship Committee when a Legatee was travelling in Austria. "Bozen mit Blick each Osten" which translates as "Bolzano with view to the east". It is addressed to Mr H Caffrey, Chairman Comradeship at Melbourne Legacy. It is not dated and is signed Brian Lucky Luscombe. It says: "While lunching on a balcony overlooking this lovely place, I thought of soup, sandwiches and scones and Melbourne Legacy. And then Mary said "have another glass of red". At 6000 lire a bottle it's not too bad. We escaped the Italian airline/train strike and are now safely in the land of the Sound of Music. Another 5 weeks of this summer in sunny Europe and I'll be back to annoy you. And you'd better have a new job for me. Regards. Brian Lucky Luscombe.A record of a Legatee travelling and relating experiences back to his comrades in Melbourne.Colour postcard from Austria.Printed "Bozen mit Blick each Osten". Two Austrian postages stamps and an Airmail sticker. Handwritten text in blue pen.comradeship, legatee

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen Silver Photograph mounted on boardprinted in ink on support l.c.: STATE SCHOOL, FERNSHAWE. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 5. / STATE SCHOOL, FERNSHAWE. / This educational institution occupies one of the most romantic situations of any of the State Schools in Victoria. / On either side of it runs a river and a creek, whilst immediately surrounding it are a great many large fern trees. / The background comprises many giants of the forest. In the centre of the picture stands a stump, about 60 feet / high, which has evidently been struck by lightning. The neighbourhood, not being a very populous one, furnishes / but 30 children for educational training. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen Silver Photograph on Boardprinted in ink on support l.c.: VIEW OF THE "HANGING ROCK," NEAR MOUNT MACEDON. / COPYRIGHT REGISTERED. printed in ink (vertically) on support reverse u.c.l.: J.W. FORBES, Agent, printed in ink (vertically) on support reverse c.l.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink (vertically) on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 6. / VIEW OF THE "HANGING ROCK," NEAR MOUNT MACEDON. / The Hanging Rock is situated about 5 miles in a north-easterly direction from the Railway Station at Woodend, / and is a very picturesque spot. Its formation is singularly peculiar, consisting of gigantic masses of basaltic rock / thrown up on end in a projecting or hanging position. Our illustration represents but a portion of the Rock, as it / is not possible to obtain a view of the whole of it in one picture. The height of these large boulders of rock vary / from 150 to 200 feet. printed in ink (vertically) on support reverse l.c.l.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.albumen silver photograph on boardprinted in ink on support l.c.: VIEW ON THE RIVER MURRAY, NEAR ECHUCA, SHOWING THE RAILWAY WHARF WITH STEAMERS UNLOADING. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 7. / VIEW ON THE RIVER MURRAY, NEAR ECHUCA, SHOWING THE RAILWAY WHARF WITH STEAMERS UNLOADING. / The rapidly increasing traffic on the River Murray, with wool, timber, and other colonial produce, has called / into requisition no less than 400 steamers and over 1000 barges. To meet this growing emergency the Victorian / Government has expended several thousand pounds in the erection of a Railway Wharf which during the wool- / season presents a very busy scene, the crowded steamers laden with precious clip taxing to the utmost the / powers of the Railway Department in the process of unloading. The River here is about a quarter of a mile wide, / and is from 60 to 70 feet deep. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography, river murray, echuca

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen silver photograph mounted on boardprinted in ink on support l.c.: GIANT FERN TREES: SPLITTERS' TRACK, BLACK SPUR. / COPYRIGHT REGISTERED. printed in ink (vertically) on support reverse u.c.l.: J.W. FORBES, Agent, printed in ink (vertically) on support reverse c.l.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink (vertically) on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 8. / GIANT FERN TREES: SPLITTERS' TRACK, BLACK SPUR. / The scene which this illustration represents is situated on Morley's Creek, at the foot of the Black Spur, and is / about a mile and a half from the Township of Fernshawe. The Fern Trees in this locality are of gigantic growth, / measuring 50 feet in height, the fronds of which are from 12 to 15 feet long. This excessive growth is attributable / to the great number of springs flowing into the creek, thereby causing the surrounding soil to be in a continual / state of moisture. printed in ink (vertically) on support reverse l.c.l.: 10 Temple Court, Collins Street West.landscape photography, nicholas caire, black spur - victoria

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen silver photograph on boardprinted in ink on support l.c.: VIEW OF STURT STREET, BALLARAT, TAKEN FROM THE TOWN HALL TOWER. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 13. / VIEW OF VICTORIA HILL, BENDIGO, TAKEN FROM OLD CHUM HILL. / This scene represents two of the principal Quartz-reef claims in the district of Bendigo, with their surface / excavations. The one nearest the foreground is the North Old Chum's Company's claim, which is very rich with / gold-bearing quartz. The other claim, on the hill side, is the private property of Mr. George Lansell, and is even / more valuable than the former, giving employment to over 100 men. The building on the right is the quartz-crushing / plant belonging to the new Chum and Victoria Companies. The excavations are several hundred feet in depth. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography, victoria hill - bendigo - victoria

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography,An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen silver photograph mounted on board. [Note: This is the second of two copies of this photograph in the collection]printed in ink on support l.c.: VIEW OF THE TOWNSHIP OF FERNSHAWE. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 14. / VIEW OF THE TOWNSHIP OF FERNSHAWE. / Fernshawe may be considered the most romantic town in the Colony of Victoria. It is situated at the foot of / the Black Spur, and is surrounded by a great many high hills, such as Mounts Riddell, Juliet, Munday, and others, / which form the crossing range into Gipps Land. It has, no doubt, derived its name from the fact that it is the / greatest Fern-growing district in the Colony. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography, fernshawe

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of BiographyAn original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen silver photograph mounted on boardprinted in ink on support l.c.: FERN TERRACE, ON THE RIVER WATT, NEAR MOUNT MUNDAY. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 17. / FERN TERRACE, ON THE RIVER WATT, NEAR MOUNT MUNDAY. / Of the various Rivers which exist in the Colony of Victoria, the River Watt (though a small one, and to some / extent unimportant) may be said to contain the most charming as well as the greatest variety of romantic scenery. / The scene of the present issue is perhaps the most unique of its character to be found in any of the Colonies. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography - victoria

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of BiographyAn original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen silver photograph mounted on boardprinted in ink on support l.c.: ROADWAY SCENE ON THE BLACK SPUR. / COPYRIGHT REGISTERED printed in ink (vertically) on support reverse u.c.l.: J.W. FORBES, Agent, printed in ink (vertically) on support reverse c.l.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink (vertically) on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 18. / ROADWAY SCENE ON THE BLACK SPUR. / The road which is represented in this illustration has lately been constructed by the Government at considerable / expense. It is three miles in length from the base to the summit, some portions of which are very steep. Mails / are conveyed by Cobb & Co.'s Coaches to Marysville and Woodspoint via this route daily. The scenery on the Black / Spur, and beyond as far as Myrtle Creek, is exceedinly picturesque. printed in ink (vertically) on support reverse l.c.l.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography, black spur - victoria

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen silver photograph mounted on boardInscription on reverse: ‘In the distance among the foliage can be seen the New Bridge across the River Watt. Previous to its erection, the only means of crossing over to the township was across the fallen trees, which are of prodigious dimensions. The River, as may be seen, is very rapid, and, though shallow, it contains a great quantity of fish of a somewhat moderate size.’nicholas caire (1837-1918), landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.24 / ‘Scene at Healesville’ / Albumen silver photograph mounted on cardOn Reverse: ‘After leaving the villages of Lilydale and S. Hubert the scenery commences to assume a very wild and romantic appearance. The country becomes exceedingly undulatory, and the belts of densely packed scrub, present altogether a very different appearance from the more settled and cultivated districts. Our illustration is taken from one of the many creeks which surround the rising township of Healesville.’nicholas caire (1837-1918), australia - landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.25 / ‘Scene on the River Campaspe’ / Albumen silver photograph mounted on boardOn Reverse: ‘The River Campaspe flows into the River Murray, near the Town of Echuca. It is a river of considerable size, and is subject to frequent overflowing of its banks, in consequence of the low flat country through which it runs. Our illustration represents the River during one of the periodical floods, its depth being over thirty feet at the time.’nicholas caire (1837-1918), australia - landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.26 / 'Bend of the River Watt' / Albumen silver photograph mounted on boardOn Reverse: 'The present illustration represents a scene on the River Watt, and is situated in the valley between Mount Juliet and Mount Monda. The immediate neighbourhood abounds with scenery of the wildest and most romantic character. The River here is as clear as crystal, owing, no doubt, to its bed being composed of rock and pebbles. The banks on either side are studded with foliage so dense as to render access to the neighbourhood almost impracticable.’nicholas caire (1837-1918), australia - landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.27 / ‘Scene from the Black Spur’ / Albumen silver photograph mounted on boardOn Reverse: ‘The scene which this illustration represents is taken from one of the slopes of the Black Spur Hill, on the Great Dividing Range of Mountains, and is characteristic of the scenery to be found in most parts of the beautiful and romantic districts of Fernshawe and Healesville.’nicholas caire (1837-1918), australia - landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.28 / ‘Scene near Dandenong, Moon’s Range’ / Albumen silver photograph mounted on boardOn Reverse: 'Moon’s Range is situated to the right of the portion of the Dandenong Range of Mountains called “Fern Tree Gully.” This Range is notable for its almost impenetrable forest of trees, the majority of them being of gigantic growth. Numerous splitters and wood-cutters obtain lucrative employment in the production of laths and firewood. Near the summit of the range are several summer residences belonging to Melbourne merchants.’nicholas caire (1837-1918), australia - landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.29 / ‘View of a Victorian Sheep Station’ / Albumen silver photograph mounted on boardOn Reverse: ‘The present illustration is characteristic of a Squatter’s Station in Victoria, and is situated near Elphinstone. In the centre of the picture may be seen the Squatter’s residence or head-quarters surrounded by sheds and out-houses, and in the foreground is a flock of sheep in charge of a lad. Of late years it has become the practice to erect fences around the Australian Sheep Stations, which necessitates only the services of a boundary rider, and dispenses with those of a number of shepherds.’nicholas caire (1837-1918), landscape photography