Transcription of correspondence between Sir George Gipps and C.J. La Trobe, giving a record of the early history of Victorian Aboriginal peoples in relation to white settlers.Maps, b&w illustrationssir george gipps, la trobe

Colour slide in a mount. Terrace Houses, Corner Gipps and Simpson St, East Melbourne, Victoria, AustraliaMade in Australia / 21 / JAN 65M / Terrace House Gipps St, E. Melb (Handwritten)melbourne, slide

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, National Centre of Biography, Australian National UniversityAn 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 first 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 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

This is a door stop, made by a Freemason, believed to be around 1920. Located at the Collingwood Masonic Centre.none

Purchased with the assistance of the Gippsland Art Gallery Society, 2005Pencil on papergippsland, artwork, permanent collection

Purchased with the assistance of the Gippsland Art Gallery Society, 2005Ink and wash on papergippsland, artwork, permanent collection

Purchased with the assistance of the Gippsland Art Gallery Society, 2005Ink and wash on papergippsland, artwork, permanent collection

Purchased with the assistance of the Gippsland Art Gallery Society, 2011Hand-coloured wood engraving on papergippsland, artwork, permanent collection

Purchased, 1984Wood engraving on papergippsland, artwork, permanent collection

Purchased, 1984Hand-coloured wood engraving on papergippsland, artwork, permanent collection

Donated by B. & J. Gurling, 1984Hand-coloured wood engraving on papergippsland, artwork, permanent collection

Donated by Peter Dowling, 2018Wood engraving on papergippsland, artwork, permanent collection

Donated by Simon Gregg, 2013Hand-coloured wood engraving on papergippsland, artwork, permanent collection

Purchased, 1984Hand-coloured wood engraving on papergippsland, artwork, permanent collection

Donated by John Leslie OBE, 1984Hand-coloured wood engraving on papergippsland, artwork, permanent collection

Purchased, 1984Hand-coloured wood engraving on papergippsland, artwork, permanent collection

Purchased with the assistance of the Caltex Victorian Government Art Fund, 1984Hand-coloured wood engraving on papergippsland, artwork, permanent collection

Donated by Peter Synan OAM, 1984Hand-coloured wood engraving on papergippsland, artwork, permanent collection

Purchased with the assistance of the Caltex Victorian Government Art Fund, 1982Coloured lithograph on papergippsland, artwork, permanent collection

Purchased with the assistance of the Caltex Victorian Government Art Fund, 1984Coloured lithograph on papergippsland, artwork, permanent collection

Purchased with the assistance of the Gippsland Art Gallery Society, 2008Coloured lithograph on papergippsland, artwork, permanent collection

A N Z BankColoured photographshop, commercial, bank, anz, sackville street, cox street

this building was built to house the Port Fairy Masonic Lodge No 67 with two seperate large spaces a general l meeting room in the front and the formal Lodge space to the rear. it is now occupied as a book shop by ‘Blarney Books’Coloured photograph of brick fronted building housing Blarney Booksshop, commercial, port fairy masonic lodge no.67, blarney books, books

Part of a souvenir folder produced for the national Trustblack and white photograph of the ANZ bank corner of Sackville and Cox Streets part of a souvenir foldersouvenir, port-fairy, anz bank, sackville street, cox street, ivy covered bank, money

The construction of Seaview commenced in 1860, after David Talbot, purchased the land from James Atkinson,It had been suggested that it was intended to be double storied but there is no evidence of how that would have been accomplished. Following Talbot’s insolvency, Michael O’Reilly leased the house in 1862 until 1876 when he left for Melbourne.William Powling (Solicitor) acquired the house for Eight hundred and twenty three pounds in 1890 and lived there the rest of his life. His son Ernest Powling continued living there before selling it to Matthew Cathcart in 1917.A black and white photograph of the house called Seaview to be used as a postcard in a series by the National Trust Front of Seaview showing bay window and verandah bluestone painted whiteSeaview 1850 - Nat.Trust. CL1souvenir, port-fairy, seaview, powling, cathcart, talbot, o’reilly, house

Colour photographic postcard South Beach Port Fairy, Looking WestSouth Beach Port Fairysouvenir, port-fairy, post card, south beach, pea soup

The Catholic Church in Port Fairy was built 1859-1867 Foundation stone laid in July 1857, money being raised be subscription and a government grant. Charles Hansom was the Architect, Nathaniel Billing Engineer. Chancel and sacristy were added in 1867, stained glass windows added in 1868.Black and white photograph of church with a spire located on a rise west of Port fairysouvenir, port-fairy, catholic, st pats, st patricks, nathaniel billing, charles hansom, 1857, belfast

The construction of Seaview commenced in 1860, after David Talbot, purchased the land from James Atkinson,It had been suggested that it was intended to be double storied but there is no evidence of how that would have been accomplished. Following Talbot’s insolvency, Michael O’Reilly leased the house in 1862 until 1876 when he left for Melbourne.William Powling (Solicitor) acquired the house for Eight hundred and twenty three pounds in 1890 and lived there the rest of his life. His son Ernest Powling continued living there before selling it to Matthew Cathcart in 1917.Coloured photograph of Front of Seaview showing bay window and verandahsouvenir, port-fairy, seaview, philip street, house