Black and white photograph mounted on grey frame. 16 Police Officers mounted on Horses. Black and white photograph mounted on bege frame. 25 men pose for photograph on 3row structure; they all wear polished suits. Men sitting at front row have their arms crossed, some in a serious countenance and other more witty. On the back there's piece of paper stuck which tells who are most of Police men in the picture - see Inscriptions. There's also velcrum piece on edges.Handwritten: (top left) 162 (top right) Ap 86 Paper glued with tape on the back, typewritten: First Council of the // Victorian Police Association. Left to right; Back row; Forget name of first one; John Searle; // Arthur Feldtman 7138; Francis McCorkell, Charles Heading; // White (Reporter) Middle Row. Gill (Police Association Secretary) ; Murdock McMillan; Uncertain next; George Fleming; Tom Morgan; Jim Ogden; Fred Hale; Uncertain name; George Burrows; Front row; Jim Dunn; Walter Elliott; John Grieve (Detective); Langslov // George Herbert Docking (Association President) General Blamey // William Adamson; McPherson; Arthur Wels; John // Cassiy. I Believe the 3rd person in centre row is Roderick McDonald but am not sure. // This picture was taken in the Temperance Hotel, Russel ST // Jim Ogden and myself were the only members of force who had joined after the police strike in 1923.victoria police museum, police officers, police academy, police force, c. j. frazer, mcdonald, roderick, langslov george herbeter docking, cassidy, john, welsh, arthur, mcpherson, general blamey, adamson, william, victorian police association, adamson, william, police council, grieve, john, elliott, walter, dunn, jim, burrows, george, hale, fred, ogden, jim, morgan, tom, fleming, george, mcmillan, murdock, secretary gill, reporter white, heading, charles, mccorckell, francis, feldtmann, arthur, searle, john, first council, temperance hotel

This Carte-de-viste (CdV) previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. It is unclear; however, whether or not the man depicted in the photograph is Daniel Mullins or a different police officer. The Police Station at Glenrowan depicted in this CdV stood during the events of the Kelly gang's siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak. This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Items pertaining to the Kelly gang, including photographs like this one which depicts a police officer standing outside of the Glenrowan Police Station, are of great historical significance. Photographs like this can provide valuable information on the architecture, lifestyle and dress of colonial Australia. When studied, photographs have the ability to shed more light on the events of the Kelly gang and colonial Australia. This photograph is also of artistic significance because of the popularity of the CdV during the nineteenth century.A sepia toned photograph mounted on grey card with rounded corners. The image has been captured by an unknown photographer and depicts the outside the Glenrowan Police Station. In front of the Station stands an unidentified policeman and lying on the ground behind the policeman is a medium sized dog with dark colouring. The Police Station depicted in this photograph is a classic example of Australian country colonial architecture typically seen dating to the nineteenth century. It has the typical features of an Australian colonial 'miners' cottage' with the gable roof and a skillion at rear. A white picket fence is stands between the Station and the policeman. A small building is located at the rear of the Station which may have served as a lockup.BMM 8083kelly album, glenrowan, police, police station, photograph, ned kelly, australia, colonial australia, victoria, james bray, william e barnes, daniel mullins

Carrie Lam, Hong Kong’s chief executive, had plenty of political support in the territory’s pro-Beijing legislature to pass a bill that would allow extraditions to mainland China. The legislators were set to begin discussing the bill in early June, and intended to vote on it just weeks later. A series of protests took place, and after a June 16 protest saw the largest turnout yet, Ms. Lam made a major concession: She postponed the bill, at least temporarily. It was an undeniable victory for the protesters — but it did little to quell the unrest. Since the bill could later be reintroduced, protesters felt they remained in danger. The police tactics to break up the demonstrations on June 12, including the use of more than 150 tear gas canisters to push protesters far away from the government office, created a new set of demands from the protesters. Now, instead of just calling for the withdrawal of the bill and Ms. Lam’s resignation, they said they wouldn’t be content unless there was an independent investigation of officers’ conduct. They also wanted the release of protesters arrested on June 12, and for the government to rescind its description of the demonstrations as a “riot,” a designation that carries legal significance. None of that has happened. Many analysts say Ms. Lam is unlikely to step down, nor would Beijing accept her resignation if she offered it. She has more wiggle room on the other demands, but has not indicated any willingness to budge. The Hong Kong Protests are a leaderless, digital movement.There is no single leader or group deciding on or steering the strategy, tactics and goals of the movement. Instead, protesters have used forums and messaging apps to decide next steps. Anyone can suggest a course of action, and others then vote on whether they support it. The most popular ideas rise to the top, and then people rally to make them happen. At its best, this structure has empowered many people to participate and have their voices heard. Protesters say it keeps them all safe by not allowing the government to target specific leaders. Their success in halting the extradition bill, which was shelved by the territory’s chief executive, speaks to the movement’s power. Despite the lack of a clear leader, protesters have shown extensive coordination at the demonstrations, having planned the specifics online beforehand. Supply stations are set up to distribute water, snacks, gloves, umbrellas and shields made of cardboard. Volunteer first aid workers wear brightly colored vests. People form assembly lines to pass supplies across long distances, with protesters communicating what they need through a series of predetermined hand signals. Anyone walking in dangerous areas without a helmet or a mask is quickly offered one. No individual can speak on behalf of the protesters, which makes negotiations difficult, if not impossible. (https://www.nytimes.com/2019/07/02/world/asia/hong-kong-protest-explained.html, accessed 07/07/2019) Hong Kong’s amended extradition law would allow the extradition of suspects to mainland China for the first time. Supporters say the amendments are key to ensuring the city does not become a criminal refuge, but critics worry Beijing will use the law to extradite political opponents and others to China where their legal protections cannot be guaranteed. The government claims the push to change the law, which would also apply to Taiwan and Macau, stems from the killing last year of a Hong Kong woman while she was in Taiwan with her boyfriend. Authorities in Taiwan suspect the woman’s boyfriend, who remains in Hong Kong, but cannot try him because no extradition agreement is in place. Under the amended law, those accused of offences punishable by seven years or more in prison could be extradited. The new legislation would give Hong Kong’s leader, known as the chief executive, authority to approve extradition requests, after review by the courts. Hong Kong’s legislature, the legislative council, would not have any oversight over the extradition process. Many Hong Kongers fear the proposed extradition law will be used by authorities to target political enemies. They worry the new legislation spells the end of the “one country, two systems” policy, eroding the civil rights enjoyed by Hong Kong residents since the handover of sovereignty from the UK to China in 1997. Many attending the protests on Sunday said they could not trust China as it had often used non-political crimes to target government critics, and said they also feared Hong Kong officials would not be able to reject Beijing’s requests. Legal professionals have also expressed concern over the rights of those sent across the border to be tried. The conviction rate in Chinese courts is as high as 99%. Arbitrary detentions, torture and denial of legal representation of one’s choosing are also common. Many in the protests on Sunday 09 June 2019 said they felt overwhelmed by a sense of helplessness in the face of mainland China’s increasing political, economic and cultural influence in Hong Kong. Hong Kong’s top political leader is not elected by ordinary voters but by a 1,200-strong election committee accountable to Beijing. Half of its legislature are chosen through indirect electoral systems that favour pro-Beijing figures. Many Hong Kongers also cited the jailing of leaders and activists from the 2014 Occupy Central movement– a 79-day mass civil disobedience movement – as well as the disqualification of young localist lawmakers as signs of the erosion of civil freedoms. Resentment towards China has been intensified by soaring property prices – with increasing numbers of mainland Chinese buying properties in the city – as well as the government’s “patriotic education” drive, and the large numbers of mainland tourists who flock to Hong Kong. Many Hong Kongers are also concerned about China’s growing control over the city’s news media, as they increasingly self-censor and follow Beijing’s tacit orders. https://www.theguardian.com/world/2019/jun/10/what-are-the-hong-kong-protests-about-explainerSeven police officers stand guard in front of Hong Kong's main police headquarters on Arsenal Street in Wan Chai as an estimated one thousand protestors surround on 26 June 2019. Protestors take turns to step up and hurl abuse at the officers, in a protest lasting 6 hours before peacefully dispersing. The protesters chanted 'Release the martyrs' and 'Stop police violence' in reference to violent clashes with police in the days previous. ( https://www.scmp.com/news/hong-kong/politics/article/3016238/hong-kong-police-under-siege-again-protesters-surround)carrie lam, hong kong protests, extraditions, protest, protestors, police, wan chai

Series of postcards, featuring Australian Troops who participated in the Victory Parade through London after WW1 on 3rd May, 1919.1. Troops marching past Australia House in London. Spectators lining the route. 2. Column of mounted troops and horse drawn artillery. Large monument in right background. Spectators lining the route. 3. Troops in uniform with arms shouldered marching along road. Spectators lining the route. 4. Troops in uniform with arms shouldered, marching along the road. Man in uniform on right is taking the salute. Uniformed police officer on right. 5. Troops in uniform with arms shouldered marching along road. Man in uniform on bottom right hand side taking the salute. Battle honours of troops attached to building in background. robert h. baron, cooper collection, postcard, london, ww1, victory parade, australian troops

This gun was presented to Robert O’Hara Burke Esq in 1858 by the Beechworth Police in recognition of his four years’ service as the Police Superintendent at Beechworth. It arrived back in Beechworth on Thursday 10th April, 2014.Presented to R. O’Hara Burke Esq / Supt. of Police by the Officers of the district on his transfer from Beechworth / November 1858 /burke, robert o'hara burke, burke museum, robert o'hara burke museum, firearm, burke and wills, burke & wills, burke and wills expedition, expedition, beechworth, indigo shire, north-east victoria, revolver

The Bacchus Marsh Police Barracks shown in this image were located in Main Street on the site of the present day Police Station. The Barracks were constructed around 1857 or 1858. Prior to this the Police were stationed in the Police Paddocks at Maddingley in the area where Maddingley Park is now located. This building was in use by the Police until 1930 when it was replaced by a new building. This later building was in use until the early 2000s but was demolished in 2003 and replaced by a larger Police building.Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'. The image shows the Bacchus Marsh Police Police Barracks and stables in 1883. Two uniformed male police officers wearing helmets can be seen standing on the footpath in front of the building. Next to them on their left stand two boys, one holding a document, possibly a newspaper.. The Barracks is a sandstone building with a chimney on one side; it appears to have a slate roof. Two buildings can be seen behind the main building. A white picket fence with a double gate runs along the front of the complex.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, bacchus marsh police station, police stations, police

he Band was raised in 1969 and wears the Fletcher of Dunans tartan in honour of the Police Commissioner at that time, Mr Phil Fletcher. It celebrated its 40th anniversary in 2009 with a Grand Gaelic Ball attended by more than 300 people. Membership of the Band is voluntary and currently includes three serving police officers (including Drum Major Constable Dean Walker) and one Special Constable. The majority of the membership is drawn from the community and includes teachers, students, corporate executives and retired members of the community. http://www.police.tas.gov.au/useful-links/tasmania-police-pipe-band/Wooden Plaque 15cm x 13cmTasmanian Police Pipe Band

Murray Comrie Collection. The house in this photo was once the residence of the Tarnagulla police officer. The town block where the house was originally built was the base for policing in Tarnagulla from 1878 until the 1990s. The house was built in 1878 as a residence and adjacent was a lockup, office and stable (shown in THA-2019.0031). This house was sold for removal in in the late 1960s and replaced with a prefabricated residence and small office brought from Bealiba. These as well as the lockup are still in place (as of 2019), but are no longer used. It is not known where this house was moved to. It is not known whether this photo was taken before or after the house was moved. Monochrome photograph of a house which was once the police residence in Tarnagulla. Not known if this image was made when it was in its original position (Victoria Street Tarnagulla) or after it is was sold and moved in 1969. tarnagulla, police, policing, houses

The Court House in Main Street Bacchus Marsh was built in 1858 using local sandstone. It opened in 1859. It has been used for jury trials, a Court of Petty Sessions, a County Court and a Crown Land sales office. Other uses included an office for the Registrar of Births and Deaths, a Dairy Inspectors office from 1863-1865, and as meeting rooms for the Bacchus Marsh Roads Board, a forerunner of the Shire Council. It was also used by the Bacchus Marsh Shire Council for its offices until at least 1884. In more recent years it has functioned as a Magistrates Court with weekly court sessions. Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'. The view of the Court House building is seen from the northern side of Main Street looking south or south-east. Three men are standing in the street in front of the building. The men on the left and the right wearing police helmets appear to be police officers. The man in the middle is in civilian clothes and might be an officer or employee of the Court House. He has his dog with him. A white picket fence runs along the front of the building. The front courtyard of the building has been renovated since, but this building still operates as a court house.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, courthouses, bacchus marsh court house

Demonstrates a report into tram fares and tickets around Australasia.Report - 13 foolscap duplicated pages, stapled along the left hand edge, titled "Report of Sub-Committee on Fares and Sections appointed at Australasian Tramways Conference 1929" Reports on a questionnaire to 14 different systems - Bendigo considered the same as Ballarat for the purposes of the report. Looks at the Section and their average length, Overlapping sections, fares, children fares, Sunday and holiday rates, workmen's concession tickets, scholars', swimming tickets, blind passes, police officers, civil servants, municipal bodies, concessions to charitable institutions, defence force, boy scouts, state members and officials, employee's passes, periodical or prepaid tickets, specials charges, passenger luggage. Compares to the USA, flat fares, one man trams.Has "Mr Mawby" in ink on front cover and "Copy sent to Mr Old 22.7.30"trams, tramways, tickets, fares, sections, australasian tramway conference, ballarat

Major Damien Batty served in Afghanistan in 2011-2012 with the Bravo Commando Company Group, 2nd Commando Regiment in Uruzgan. Major Batty served alongside Said Haim, an Afghan police officer. Australian forces were often involved in mentoring and training Afghan police and army units. According to the letter Major Batty worked with Said Haim on logistics for PRC (Provincial Response Company) Uruzgan. The Commandos took part in 20 rotations with the Special Operations Task Group (SOTG) between 2007 and 2012. During this time they undertook significant combat operations, and were awarded for its actions, the regiment was collectively awarded the Unit Citation for Gallantry and the Meritorious Unit Citation. This letter is a rare example of first-person correspondence between a member of Australia's Special Forces and a member of the Afghan police force. The letters, both in Arabic and English, are significant for their capacity to illustrate the personal face of the Australian mission in Afghanistan, and to signify the nature of individual relationships between Australian personnel and local reconstruction forces. Two letters, one in Arabic and the second translated into English. Arabic letter is photocopied, English letter is written in blue pen. major damien batty, uruzgan, afghanistan, letter, police, prc, commandos

This photograph is of Robert O'Hara Burke (6 May 1821 – c. 28 June 1861) who was an Irish soldier and police officer who achieved fame as an Australian explorer. He was the leader of the ill-fated Burke and Wills expedition, which was the first expedition to cross Australia from south to north, finding a route across the continent from the settled areas of Victoria to the Gulf of Carpentaria. Prior to leading this expedition, Burke was the superintendent of Police in Beechworth from 1858-1860. The Robert O’Hara Burke Memorial Museum was named in honour of Robert O’Hara Burke after his death at Coopers Creek in 1861 during expedition. This particular image of Robert O'Hara Burke features on the 'Pioneer Board' which is currently on display in the Museum. Black and white rectangular copy of a photograph. Image is printed on gloss photographic paper and has a white unprinted boarder. Reverse: 34 / Photo credit: Burke Museum / BEECHWORTH / 46% /robert o'hara burke, pioneers of beechworth, pioneer board, beechworth, police superintendent

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis' photo, a young police officer stands on the stadium ground with his arms sternly crossed, while the crowd waits for the game. This photo highlights the tension between passionate crowds and the police at AFL games.

Photograph shows crew, customs officers and police on the beach at Torquay after the Scammell grounding.A contemporary record of a Victorian shipwreck in 1891.Copy black and white photograph

Believed to be used by Chief Petty Officer Navy Police Craig Duff whilst on duty in Mogadishu Somalia United Nation light blue go fast cap with UN cloth badge sewn above the peak; blue plastic adjusting slide at the back; cloth covered metal button permanently fixed at the centre top of the cap; there is opening at the back measuring 60 x 50 mm, cap is made of five segments that are stitched together to made up the crown of the cap and there is a stitched pattern of six parallel lines. the band on the rim has a plastic backing The UN embroidered badge is sewn centrally on the front and has the words UNITED NATIONS NATIONS UNIES cap, united nations baseball cap, cap un blue

The famous Australian poet Adam Lindsay Gordon (1833-1870) lodged for seventeen months in this cottage, located at 10 Lewis Street, Brighton. He and his wife Margaret lived here from 1869 until Gordon took his life on the Brighton foreshore in June 1970. Adam Gordon Lindsay was the first Australian poet to gain considerable recognition overseas and has been credited for beginning a national school of Australian poetry. His poetry reflected his love of the bush, a sense of humour, but also his battle with depression. In addition to being a poet, Lindsay was also a skilled horseman, police officer and politician. In 1946, the cottage at 10 Lewis Street was demolished. Local poet Mr Cyril Good, an ardent admirer of Adam Lindsay Gordon, purchased the bricks from the cottage which he carefully numbered and stored for a number of decades, in the hope that it would one day be re-erected in Gordon’s honour. John C. Paul, Adam Lindsay Gordon cottage c. 1870 1973, watercolour, 27.8 x 42.3 cm. Bayside City Council Art and Heritage Collection. Purchased 1974.brighton, john c paul, historic house, adam lindsay gordon, poet, lewis street, politician

Captain Robert Westrup Salmon was born at Daisy Hill near Talbot 12 July 1862. He joined the Victorian Mounted Rifles in 1883; was commissioned Lieutenant in 1892 and appointed Adjutant (Volunteer) of 2nd Battalion VMR in 1892. He embarked with the 1st Contingent VMR to South Africa in 1899 with the rank of captain. At the battle of Jasfontein (Garsfontein) he was highly complimented in the London Times and other English newspapers for the skilful manner in which he handled the Mounted Infantry under his command. At the time of his death from Enteric Fever on 16 March 1900 at Naauwpoort South Africa he was Staff Captain of the Australian Regiment. Captain Salmon was a councillor of the Borough of Talbot, trustee of the Racing Club and the Cemetery; member of the Board of Directors of the MUIOOF; past master of the Masonic Lodge; church warden of St Michael’s Church Talbot and secretary of the Fire Brigade. The plaque was discovered by retired Military Police officer, Captain Watson and donated to 8/13 VMR Museum circa 1983. Rare example of a memorial plaque to an officer of the Boer War. It is not known where or if it was originally mounted but a church building would seem likely. Large bronze plaque to the memory of Captain Robert Westrup Salmon who died of Enteric Fever while serving with the 1st Contingent Victorian Mounted Rifles during the Boer War. A framed display with photograph of the donor Captain Watson handing the plaque to Officer Commanding 'A' Squadron 8/13 VMR at Buna Barracks Albury in 1984 now accompanies the bronze plaque.Cast in raised lettering surrounding a Victorian Mounted Rifles badge "The tribute of the Officers of the Victorian Mounted Rifles Non-Commissioned Officers & Men to the memory of Captain RS Salmon Talbot who died at Naauwpoort South Africa 16th Mar. 1900"salmon robert westrup captain, talbot, boer war

Prior to the election of female Councillors and Mayors, the Mayoress role was one of the few ways women could officially undertake civic duties and Mayoress's played an important role in civic life through charity work, even stepping in on occasions to undertake Mayoral duties. Anne Galvin O.B.E. was born Anne Edith Ruby in 1903 and was one of Bendigo's best known charity workers. She used her first speech as Mayoress to indicate her intentions to do something for mothers and children and it was mainly through her efforts as president of the National Council of Women that Bendigo received the appointment of the two first women police officers in 1956 (1). Anne Galvin was the second woman in Bendigo to be elected to the Bendigo City Council in the 1960's, retiring after six years on Council in 1973. Anne was awarded an O.B.E in 1967 for community service and the Anne Galvin Early Learning Centre is named after her. (1) p 193 Jackman, Mayors of Bendigo 1856 - 2001. Framed, oval photographic portraits with convex glass and print, created using a collodion wet plate process. Hand coloured detail.cr: Mrs L W Galvin / Mayoress 1944 - 45annie ruby, mayoress galvin, mayor galvin, councillor annie galvin, city of greater bendigo portraits

The Hong Kong Police Force (香港警務處, HKPF; HKP), also known as the Hong Kong Police, is the largest disciplined service under the Security Bureau of Hong Kong. It is the world's second, and Asia's first, police agency to operate with a modern policing system. It was formed on 1 May 1844, with a strength of 32 officers. Queen Elizabeth II granted the Royal Charter to the Hong Kong Police Force in 1969 for their handling of the Hong Kong 1967 riots—renaming them: the Royal Hong Kong Police Force. Following the transfer of sovereignty, the Force is once again named the Hong Kong Police Force.[1] The current Commissioner of Police is Andy Tsang Wai-hung.[2] Including the Hong Kong Auxiliary Police Force and civil servants, the force consists of about 40,000 personnel; which gives Hong Kong the second largest citizen–police officer ratio in the world. In addition, the Marine Region with about 3,000 officers and a fleet of 143 vessels, is the largest of any civil police force.Wooden Plaque 15cm x x13cmRoyal Hong Kong Police

This Carte-de-visite (CdV) taken by renowned Wangaratta based photographer William Edward Barnes previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak. In this photograph, eight men stand along the railway line near Glenrowan. The photo dates to shortly after 1880 and references the attempt by the Kelly gang to derail a police train in June 1880 on those very tracks. Ultimately, this plan failed and the police train was never derailed. Ned Kelly and the Kelly gang took their final stand at Glenrowan which has been immortalised through Australian popular culture.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Wangaratta based photographer William Edward Barnes and to the Glenrowan Siege of June 1880. Taken at an unknown time, after the siege at Glenrowan, this image depicts eight gentlemen standing about the railway line near Glenrowan. This is a reference to the Kelly gang's plan to derail a train which would barrel up to Glenrowan after news reached Melbourne that Aaron Sherritt had been shot by Joe Byrne in the Woolshed Valley. This image is important for its artistic information that it can provide about the Kelly story and the fashion and streetscape of Glenrowan.This sepia coloured Carte de Visite is attached to yellow cardboard. The obverse of the photo depicts the railway line near Glenrowan around 1880s. The rails are positioned in the centre of the image and are made on an incline of earth. In the foreground are three men, two standing next to the rails and one slightly off to the right of the image. In the background are trees which line the side of the rails and slightly in front of these trees is a group of five men standing on the rails. The reverse of the image is yellow card and contains printed and pencil writing. The printed writing is in the centre of the card. It reveals that the photographer was William E Barnes from Wangaratta. The pencil writing provides the inscription stating that the photo was taken near Glenrowan around the time of Ned Kelly.Pencil: Railway line near / Glen Rowan / Kelly's time / Printed: W. E. Barnes / Photographer / Wangaratta / BMM 8089 /kelly album, glenrowan, glenrowan siege, carte-de-visite, glenrowan railway, ned kelly, kelly gang, last stand, colonial australia, kelly siege, train, railway line, railway, sepia, photography, william e barnes, william barnes

In July of 1880, Ann Jones' successful hotel in Glenrowan burnt to the ground during the Kelly siege. She had opened her business in the year prior having been unsuccessful in her attempt to run a tea-room business in Wangaratta. The first building on this particular site was the home Ann Jones had built for herself and her family. Two years later she converted the home and added the hotel to the rear of the structure. One year later it was burnt to the ground. This image depicts the police station in 1882 on what would have been the site of Ann Jones' hotel. This Carte-de-viste (CdV) taken by renowned Wangaratta based photographer William Edward Barnes previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Wangaratta based photographer William Edward Barnes and to the Glenrowan Siege and Ann Jones' Hotel which burnt down during the siege in June 1880. Taken in 1882, this photograph has the opportunity to provide information about the townscape of Glenrowan shortly after the siege. It also provides important insight into the architecture and layout of the town. To the far right of the image, the photograph depicts the police station which was built on the site of Ann Jones' Hotel which can provide important information for the Kelly story and how the town evolved following 1880. It is also interesting to emphasise that the police station was built on the site of Ned Kelly and the Kelly gang's last stand.Sepia coloured photograph with a faded appearance. Image depicts four policemen with three standing and one sitting on a chair outside the Glenrowan police station. The station takes up the majority of the image and is placed in the centre of the photo. The four men are positioned on the left side of the station. The station is a large building with a gabled roof and extensions built into the veranda on either side. In between these extensions, the property has a white picket fence which runs from the extensions directly beneath the veranda enclosing the front of the structure. The letters 1, 2, 3, 4 are written on the yellow paper on which the image is situated and relate to the images in the photo. The reverse of the photo provides the names of each policeman and reveals the image as being from the collection of William E Barnes a Wangaratta based photographer.Obverse: 1. 2. 3. 4. Reverse: No. 1. is Mullins, D. G. / 2. Lord, Edward. / 3. Millar, Allex. / 4. Hedberg, O. G. / All Comrades / Glenrowan Police Station / 1 August 1882 / W. E. Barnes / Photographer / Wangaratta /kelly album, william barnes, wangaratta photographer, carte-de-viste, glenrowan, 1882, police station, ann jones inn, ann jones hotel, kelly siege, glenrowan siege, colonial australia, ned kelly, steve hart, joe byrne, william e barnes

Murray Comrie Collection. The house in this photo was the residence of the town police officer. The town block where the house was located was the base for policing in Tarnagulla from 1878 until the 1990s. At the time of this photo (1924), the father of these children, Angus Comrie Snr was the constable for Tarnagulla. Adjacent to this house was a lockup, office and stable (shown in THA-2019.0031). Behind the residence and outbuildings (in background of this photo) was an adjoining paddock for the police horses. This house was sold for removal in in the 1960s and replaced with a prefabricated residence and small office from Bealiba. These as well as the lockup are still in place (as of 2019), but are no longer used. There are now private residences built on the former police horse paddock. A later image of this house is THA-2019.0032. For almost 100 years the Comrie name has been involved with the Victoria Police. Angus Comrie Snr, joined the force in 1899 and served as constable in Kaniva and Avoca and then in Tarnagulla from late 1909 until 1927. His son Murray Comrie, born in Tarnagulla in 1912 also became a policeman and later a Chief Superintendent, retiring in 1972 and passing away in 1983 after a long illness. Murray Comrie's son Murray Jnr., to avoid confusion became known by his middle name, Neil. Neil Comrie also joined Victoria Police and rose through the ranks to become Chief Commissioner of Victoria Police from 1993 to 2001. The Murray Comrie Collection held by Tarnagulla History Archive was collated in the 1970s by Murray Comrie (1912-1983). Sepia photographic postcard, image depicting members of the Comrie family outside their home in Tarnagulla. According to the note on reverse, the subjects are as follows: On the verandah (left to right) are Murray Comrie, 'Mother' (Mary Ellen Comrie), and Keith Comrie. Angus Comrie Jr. is holding a roped mare. Standing at centre are 'Hilda' and 'Roy' (small child). See second image for handwritten notes on reverse.tarnagulla, police, policing, comrie

In July of 1880, Ann Jones' successful hotel in Glenrowan burnt to the ground during the Kelly siege. She had opened her business in the year prior having been unsuccessful in her attempt to run a tea-room business in Wangaratta. The first building on this particular site was the home Ann Jones had built for herself and her family. Two years later she converted the home and added the hotel to the rear of the structure. One year later it was burnt to the ground. This image depicts the streetscape of Glenrowan in 1883, three years after the siege. Importantly, it reveals the appearance of several buildings which can reveal information for how Glenrowan (as a small town) might have stood during the siege. These buildings are of typical Australian colonial "miner's cottage" style. On what would have been the site of Ann Jones' hotel, to the far left of the photograph, a police station stands. This police station was built before April 1883. This image was captured by an unknown photographer. This Carte-de-viste (CdV) previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to the Glenrowan Siege and Ann Jones' Hotel which burnt down during the siege in June 1880. Taken in 1883, this photograph (taken by an unidentified photographer) has the opportunity to provide information about the townscape of Glenrowan shortly after the siege. It also provides important insight into the architecture and layout of the town. To the far right of the image, the photograph depicts the police station which was built on the site of Ann Jones' Hotel which can provide important information for the Kelly story and how the town evolved following 1880. It is also interesting to emphasise that the police station was built on the site of Ned Kelly and the Kelly gang's last stand.This photograph is a sepia image of the Glenrowan streetscape depicting several buildings. The newly built police station (in 1883) stands on the far right of the image on the site of the former Ann Jones Hotel. On the left are several buildings built in typical 'miner's cottage' Australian colonial style. This includes the gable roof with the skillion at rear. An unidentifiable individual stands next to the chimney of the front left building. Numerous paddocks appear in the image, particularly in the front right and the rear of the houses contain many trees. To the rear of the image, there is a mountain. A street runs through the centre of the photograph.Glenrowan / taken 1.4.83 ... / BMM 8086kelly album, ned kelly, glenrowan, police history, police, australian architecture, streetscape, glenrowan 1883, 1883, dan kelly, steve hart, joe byrne, carte-de-viste, james bray, daniel mullins, william e barnes, colonial australia, police station, photograph

In July of 1880, Ann Jones' successful hotel in Glenrowan burnt to the ground during the Kelly siege. She had opened her business in the year prior having been unsuccessful in her attempt to run a tea-room business in Wangaratta. The first building on this particular site was the home Ann Jones had built for herself and her family. Two years later she converted the home and added the hotel to the rear of the structure. One year later it was burnt to the ground. This image depicts the streetscape of Glenrowan in 1883, three years after the siege. Importantly, it reveals the appearance of several buildings which can reveal information for how Glenrowan (as a small town) might have stood during the siege. These buildings are of typical Australian colonial "miner's cottage" style. On what would have been the site of Ann Jones' hotel, to the far left of the photograph, a police station stands. This police station was built before April 1883. This Carte-de-viste (CdV) taken by renowned Wangaratta based photographer William Edward Barnes previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Wangaratta based photographer William Edward Barnes and to the Glenrowan Siege and Ann Jones' Hotel which burnt down during the siege in June 1880. Taken in 1883, this photograph has the opportunity to provide information about the townscape of Glenrowan shortly after the siege. It also provides important insight into the architecture and layout of the town. To the far right of the image, the photograph depicts the police station which was built on the site of Ann Jones' Hotel which can provide important information for the Kelly story and how the town evolved following 1880. It is also interesting to emphasise that the police station was built on the site of Ned Kelly and the Kelly gang's last stand.This photograph is a sepia image mounted on yellow card which depicts the newly built police station (in 1882) which stands on the far right of the image on the site of the former Ann Jones Hotel. A fence appears through the lower front of the image and an open paddock is to the left. In the rear centre of the image, there is a mountain. In front of the mountain are many trees, most of them gum. The police station is a one storey structure with a veranda and there are three doorways visible in the image. The image depicts four windows on the front of the station.W.E.Barnes / photographer / Wangaratta / ...1882 / BMM8087kelly album, william barnes, wangaratta photographer, carte-de-viste, glenrowan, 1882, police station, ann jones inn, ann jones hotel, kelly siege, glenrowan siege, colonial australia

This book bring together voices of children who were separated from their families, people who cared for them, families who took them into their homes and Government officers who carried out official directions. Contents of CD: Track 1. Jim Hart, b.1927, Queensland, separated from family as a child. See ch. 5. Interviewer: David Woodgate (3m 02s) track 2. Clara Coulthard, b.1929, South Australia, separated from family as a child. See ch. 3. Interviewer: Sue Anderson (4m 06s) track 3. John Moriarty, AM, b.1938, New South Wales, South Australia, Northern Territory, separated from family as a child. See ch. 4. Interviewer: Frank Heimans (4m 12s) track 4. Sandra Hill, b.1951, Western Australia, separated from family as a child. See ch. 11. Interviewer: John Bannister (4m 11s) track 5. Trevor Deshong, b.1965, Queensland, separated from family as a child. See ch .6. Interviewer: Colleen Hattersley (4m 45s) track 6. Julie Wilson, b.1958, New South Wales, adopted as an infant. See ch. 6. Interviewer: Frank Heimans (4m 04s) track 7. Dorothy Pyatt, b.1918, South Australia, police officer in remote South Australia, 1950s and 1960s. See ch. 8. Interviewer: Karen George (4m 18s) track 8. Margaret Somerville, MBE, b.1912, New South Wales, Northern Territory, missionary and cottage mother. See ch. 7. Interviewer: Frank Heimans (3m 15s) track 9. Reg Worthy, OAM, b.1920, Queensland, Northern Territory, Victoria, welfare officer, senior administrator, Departmental Head. See ch. 8. Interviewer: Barbara Erskine (4m 55s)D?.b&w photographs, b&w illustrations, CDstolen generations, child welfare, bringing them home, oral histories

The jacket is indicative of the dress jacket worn by a sailor of the rate of Naval Police Petty Office who has completed 12 years service.Jacket Double Breasted Service Dress Navy Blue with gold embroided insignia, [Naval Police Coxswain Petty Officer] on right upper arm; gold embroided rank insignia [Petty Officer] above three gold embroided chevrons indicating 12 years service on the left upper arm; shoulder flashes with gold embroided word, "Australia" on both shoulders. 8 gold button with embossed Australian Navy Emblem and the word "Australia" in parallel columns of 4. Size 111S (short fit) with 2 small gold button with embossed Australian Navy Emblem and the word "Australia" the cuff of each arm.Manufacturer's identification label on inside right breast.Manufacturers label measuring 4omm x 80mm showing company logo ADI / 1999 / arrow pointed up /NSN: 8405-66-132-2309 / Wool polyester / size 111S / matching / trouser size 101S / chest 112 / waist 102 / inside leg 78 / No / Name / Dry Clean Only / Made in Australia

4 x Black & white photos mounted on cardboard. .1) Chief of Police on L & Second Officer on R in front of a crowd of people for The Challenge for the Freedom of Entry to City of Bendigo. .2) March past parade of 38th Infantry Battalion in front of a crowd of people at Queen Elizabeth Oval, Bendigo. .3) 38th Infantry Battalion marching on Forest Street on return from Queen Elizabeth Oval, 2 churches & houses in background. .4) 38th Infantry Battalion in foreground on a street with buildings in background.On printed label on rear: .1) “38th Infantry Battalion - Northern Victorian Rgt. The Challenge” .2) “38th Infantry Battalion - Northern Victorian Rgt. March Past - Queen Elizabeth Oval” .3) “38th Infantry Battalion - Northern Victorian Rgt. Forest Street on return from Queen Elizabeth Oval Freedom of Entry - City of Bendigo 24th August 1958” .4) On printed label bottom centre: “38th Infantry Battalion - Northern Victorian Rgt Band. On Parade for the Governor of Victoria” 14 March 1956. photography-photographs, military history, 38th bn, passchendaele barracks trust

This gum leaf painting is one of a pair displayed on foil in the same frame. It is typical of many paintings by the self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.An oil painting on gum leaf by the well-known Australian artist Alfred William Eustace. He was a self-taught artist during the 19th and early 20th century and a prominent resident of Chiltern. Oil painting on gum leaf by Alfred William Eustace. A scene of a log cabin on Black Dog Creek Road, Chiltern, with Skeleton Hill in the background. The canvas is a juvenile Red Box (Eucalyptus polyanthemos) leaf. It is one of a pair of Eustace gum leaf paintings mounted on gold foil, under glass in a brown frame. Inscription on back. Labels on back: Rehoused by The Centre for Cultural Materials/ Conservation, University of Melbourne "Oil on Gum Leaf"/ by Alfred William Eustace/ Donor:- Cam & Connie Boadle/ Wales U.K. Crescent/ MUSEUM/ GRADE/ 24 OCT 1998/ CONSERVATION BOARD ALBURY/ PICTURE FRAMERS/ Shop 15 & 16/ AMP Lane,/ Albury, 2640/ Ph: 02 6021 7088black dog creek, chiltern, alfred eustace, skeleton hill, gum leaf, painting, eustace

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. Miniature oil painting of a landscape, with creek in foreground and bush and hill behind, by A.W. Eustace, under glass, in original timber frame with beige matte and a twist wire stand. One of 3 miniatures. No signature visiblealfred eustace, chiltern, oil painting, landscape