Watkins created his sculpture for an exhibition in Melbourne 1866: "I dressed the pillar about 2 foot 6 inches high and 16 inches square and proceeded to carve in each panel representation characteristic of Victoria 1st Panel a Kangaroo in a small scrub thicket, 2nd an Emu amongst a clump of little flowering correa; 3rd the Wimmera Down and on the 4th side my name and the date AD 1866 On the top of the pillar was an urn of globular form to represent the seed pod of the Eucalypti with spreading leaves underneath" Extract taken from 'Victoria's Wonderland' a Grampians history Monument now in private handsHeatherlie Quarry; Obelisk : Photo shows stone monument created by Francis Watkins using materials from quarry Photo shows two sided view of monument with large stone on topquarrying, mt difficult quarry

This claim was named "Kangaroo". It had a deep tunnel but produced little gold. The claim was later sold to an Ararat Syndicate which sluiced out the tunnel.Photo of five miners grouped about a trolley at the mouth of a tunnel.mining, mafeking

Photo of Patricia Brand (nee Marshall), while visiting the Grampians as a child in 1937.Little girl, approx. four years old, rocks in background.people, tourists

Period unknown. A postcard depicting "Clematis". mkThe postcard is written on the back to "My dear little Ida" from "Aunt". See photo stored in "Adittional Images" for full text.The postcard depicts wildflowers (Clematis) climbing up a tree/stump."The Rose Series, P. 1800 Australian Wild Flowers - "Clematis"" written on bottom border of postcard. There is a letter written in black ink on the rear of the postcard - see "Additional Images".natural history, flora

This is a photo of Zumsteins picnic area (before the pine trees were removed).The photo shows a woman walking in a picnic area, holding the hand of a toddler and a little girl. On the far left a person is sitting at a picnic table under a tree. A Vauxhall car is parked beside the table. The area has a large number of trees, some of which are non-native pine trees.scenery, zumsteins

View looking northwest towards the main road (Maria Street) and the village of Little Eltham, c.1913 (from near present day 9 Bible Street) Photographer: J.H. Clark John Henry Clark was the youngest of three boys born to William Henry Clark (1823-1877) and Maria White (1843-1914). He and his brothers, William Charles Clark (1872-1945), Clement Kent Clark (1874-1912) operated a photography business (Clark Bros.) from 25 Thomas Street, Windsor near Prahran during the period c.1894 to 1914. Following death of Clement in September 1912 and their mother in 1914, the Clark Bros business appears to have dissolved, the premises demolished, and a new house was under construction in 1915. John set up business independently in 1914 operating out of 29 Moor Street, Fitzroy where he is registered in the 1914 and 1915 Electoral Rolls. By 1916 John had relocated to Eltham where he continued his practice as a photographer and took many of the early images around the district of Little Eltham. Around 1930 John changed professions and opened a small cobbler's shop in 1931 near the pond opposite Dalton Street adjacent to the Jarrold family cottage. He never married and continued his profession as a bootmaker from this little shop, maintaining a close relationship with Mrs Jarrold for the rest of their lives. His bootmaker shop remains today beside the Whitecloud cottage and is one of only three remaining shops in the area from the early 20th century. There are a couple of images of Eltham taken by Clark Bros. in the Eltham District Historical Society collection, one such example being Hunniford’s Post Office with Miss Anne Hunniford out front (EDHS_00140 - marked on the back of the print, Clark Bros., 25 Thomas St. Windsor), which would date this image between c.1894 and 1914. Other early images of Eltham taken by John Henry Clark are marked on the face “J. H. Clark Photo” and it is assumed these are dated between 1914 and 1930. It is noted that the Grant of Probate for John H Clark of Eltham South dated 5 April !957 (513/387) records his occupation as "X Photographer".This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Negsepp, shire of eltham pioneers photograph collection, eltham, main road, court house, police station, pitt street, eltham hotel, evelyn hotel, fountain hotel, fountain of friendship hotel, j.h. clark photo, knapmans forge, lock-up, police residence, police stables, st margaret's church

The new Central Park was opened on Monday, 21 April 1930 by Mr. W.H. Everard, M.L.A. followed by a sports carnival. The Advertiser reported on Friday, April 25, 1930 that – “Perfect weather prevailed on Monday for the sports gathering in aid of the recently-acquired park near the railway station, and from every point of view the day was a success. The Central Park contains 9½ acres, and has the Diamond Creek on one side and the railway line on the other. It cost £760, of which the council contributed £500, and the citizens, are finding the balance. Already about £80 has been spent in levelling, and a pavilion has been erected by the footballers, who will use the ground for training until it is sufficiently, improved for matches. There is ample shade along the banks of the creek, where there were numerous picnic parties. The committee has already done some planting on the railway side of the park, and where the trees grow on the higher side, overlooking the arena, the natural stand will have shade, command a view of the events, and have the trees on the banks of the creek in the distance. There were between 600 and 700 people present, many in motor cars having a little difficulty in, finding their way under the aqueduct to the ground, but the council is at present effecting improvements to the road. A merry-go round was a source of pleasure to the children, and the Northcote Soldiers and Citizens Band under Bandmaster Gore, de-lighted everyone with their varied selections of good music.” “Cr. E. J. Andrew, president of the Park Committee, said it was the first function held in the park, and although the citizens have guaranteed £420 towards it, there is still some-thing owing. Mr. W. H. Everard, M.L.A., who can always be relied upon to attend any gathering which draws the people together, said that he and Mrs. Everard had great pleasure in being present to declare the park open. He congratulated the Eltham people upon their public spirit, and the new park would be more appreciated in years to come. The other park is a splendid one, but it is far away, and one is required close to the station, so that young people can have a day's enjoyment, without having to go far from the station. The trouble in Victoria is not having enough parks. The early settlers did a lot in getting park lands, but the present generation is not doing enough. Eltham people are entitled to the highest commendation for their action, and Cr. Andrew and the council are to be thanked for what they have done. What is wanted is ingress and egress so that people can get in comfortably. When he was motoring in his wife said, "Surely you are not going down that precipice," and he replied that he would go anywhere where the people were. In the future it will be the big centre of Eltham.” Reproduced on page 96 of 'Pioneers & Painters'This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg 9 x12.5 cm printsepp, shire of eltham pioneers photograph collection, eltham, eltham central park, automobile, central park, cricket match, pioneers and painters

James Andrew Kangaroo Ground, 1870 "James Andrew, Whittlesea, born in East Palford, Devonshire, England, in 1827, arrived in Adelaide in February 1850 per ship Lady McCaughton and almost immediately sailed in a coasting vessel to Melbourne, where the first work he undertook was clearing earth from a stone quarry in Collingwood. He next carried stones for masons engaged in building the Bishop’s Palace, and then was employed in Cambellfield mowing hay. He was at Saltwater River on Black Thursday, and afterwards took a little farm at Darebin Creek, remaining there for four years. He went up to Kangaroo Ground in 1859 and lived there until he bought his present property at Whittlesea, a farm of between 300 and 400 acres. He has been twice married, and had a family of six children." "Andrew, W. B. Eltham, is a native of England, born in 1822. Coming out to Australia in 1842, he lived in Brighton, Victoria for fifteen years, when he re-visited England for a year. Returning to Victoria fourteen or fifteen years ago, he commenced storekeeping at Eltham, where he has carried on that business ever since. Mr Andrew has always taken a lively interest in the public affairs of town and district” from "Victoria and its Metropolis: Past and Present" written in 1888 by Alexander Sutherland. Chapter 19, "The Upper Yarra District" pages [402] - 415. Includes descriptions of some townships and short biographies of local residents. Page 405 Folder of information on James Andrew, Trustee Kangaroo Ground Cemetery, Kangaroo Ground 1870 William Bravery Andrew, Eltham, 1870s-1880s Ernest James Andrew, Eltham, Eltham Shire Councillor, 1920s-1950 and Ellen Matilda Brown Andrewjames andrew, pioneer, kangaroo ground, ernest james andrew, william bravery andrew, ellen andrew, eltham cemetery, biography, ellen harper andrew (nee clarke), ellen matilda andrew (nee brown), eltham war memorial gate, eltham war memorial trust

View looking northeast from present day Ely Street (near intersection of present day Cronus Court and Porter Street) across what will become the site of Eltham High School towards Main Road showing the Eltham Courthouse and Police station. View is very similar to the sketch of Eltham published in 'The Illustrated Australasian News', December 26, 1884, p212. Note the large bluestone cell block behind police house and stable. George Knapman's Shoeing Forge next to the courthouse and the concentration of buildings around the Evelyn Hotel and Watson's Eltham Hotel on opposite sides of Main Road at Pitt street. Also note George Stebbing's cottage (c.1860) on Pitt Street behind the courthouse and 'Sunnyside' (home of W.J. Taylor built c.1885) at the top of the hill on Bible Street. In the foreground are orchards running up to the main street, Maria Street and also between Brougham Street and Dalton Street bordered by Bible Street.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Negshire of eltham pioneers photograph collection, eltham, 1890, bible street, brougham steet, dalton street, eltham courthouse, eltham hotel, evelyn hotel, franklin street, grant house, knapmans forge, main road, maria street, orchards, police residence, police station, pre 1900, stebbing cottage, sunnyside, w.b. andrew corn store, watsons hotel, little eltham

5 black and white images on one page copied from the "Weekly Times". (2 copies)"Written under images" The Ringwood Horticultural Show. Committe Group (Reading from L to R): Bottom Row- W. Chandler, E. McComas (Sec), H. Thatcher,(President), H. Chandler (Vice President), Middle Row- G. Maggs (Treasurer), J.Cameron, C.D. Hall, J. Muldowney, A. Chandler, P. Farnielo, W. Maggs. Top Row- H. Maggs, E. Kleinert, J. Hann, L.W. Chandler, J. Maguire. Photos by Frazer and Vallance, Little Collins Street, Melbourne. Pasted on back of cardboard copy- Newspaper cutting on the R.H.S. Show as reported in the "Weekly Times" 30/3/1901. Early R.H.S. Shows were held next to Club Hotel in Mount Dandenong Road.

This is a photograph of the original Orbost / Snowy River Bridge , a suspension bridge which opened in 1893. It has been taken when the Snowy River was in flood. It is similar to other photographs held in The State Library, Victoria. The Snowy River Mail and Tambo and Croajingolong Gazette Sat 12 Aug 1893 records the opening of this bridge as "the most important public event that has yet been commemorated in Eastern ......The Messrs McLeod, with whom the first settlement of this district is generally associated, took up their residence on the eastern bank of the Snowy River about the year 1841 or 42. The late Mr W. Roadknight and Mr T. T. Stirling took possession of the territory on the western side of the Snowy about 35 years ago. During the occupation of the country by cattle owners, very little progress was made in the way of roads and bridges, and except to the hardy and lexperienced bushman, it might have been generally regarded as inaccessible. About the year 1877, however, the late Mr James Robertson eldest son of Mr James Robertson, of Lochend farm, selected land now occupied by his father, about four miles from Orbost on the west bank of the river, Mr John Cameron visited the. district shortly after a .tour of inspection and returned later with his brothers, James and Alick Gameron, but found that during their absence Mr Ernest Watt had found his way on the scene and pegged out a selection, thus anticipating the advent of the Camerons by about 12 hours. We understand that a Mr Kidd, who selected the property now occupied by Mr W. J. Ross, at Pumpkin Point, was one of the earliest batch of settlors.........."This is a pictorial record of an early bridge across the Snowy River at Orbost.A black / white photograph of a suspension bridge with flood waters below the bridge.orbost-bridge suspension-bridge snowy-river

This postcard was sent to Annie Gilbert (Mrs John Gilbert) of Tullagoota, Orbost. It was written by "Grace", probably her sister, Grace Cameron Annie Gilbert was the daughter of John Cameron who selected the first land on the Snowy River flats. This is a photograph of the original Orbost / Snowy River Bridge , a suspension bridge which opened in 1893. It has been taken when the Snowy River was in flood. It is similar to other photographs held in The State Library, Victoria. The Snowy River Mail and Tambo and Croajingolong Gazette Sat 12 Aug 1893 records the opening of this bridge as "the most important public event that has yet been commemorated in Eastern ......The Messrs McLeod, with whom the first settlement of this district is generally associated, took up their residence on the eastern bank of the Snowy River about the year 1841 or 42. The late Mr W. Roadknight and Mr T. T. Stirling took possession of the territory on the western side of the Snowy about 35 years ago. During the occupation of the country by cattle owners, very little progress was made in the way of roads and bridges, and except to the hardy and lexperienced bushman, it might have been generally regarded as inaccessible. About the year 1877, however, the late Mr James Robertson eldest son of Mr James Robertson, of Lochend farm, selected land now occupied by his father, about four miles from Orbost on the west bank of the river, Mr John Cameron visited the. district shortly after a .tour of inspection and returned later with his brothers, James and Alick Gameron, but found that during their absence Mr Ernest Watt had found his way on the scene and pegged out a selection, thus anticipating the advent of the Camerons by about 12 hours. We understand that a Mr Kidd, who selected the property now occupied by Mr W. J. Ross, at Pumpkin Point, was one of the earliest batch of settlers.........."This item is associated with Annie Gilbert (nee Cameron) reported to have been the first white girl to be born in Orbost. It is a pictorial record of the suspension bridge over the Snowy River which has since been replaced twice.A faded black / white postcard of a bridge across a river. There are cattle in the river and the banks are tree-covered.on back - a hand-written letter addressed to Mrs J. Gilbert Tullagoota Orbost.cameron-annie suspension-bridge-orbost snowy-river-orbost

Black and white photograph - Grade 5-6, 1920"Attached to photograph" Back Row - L to R: D.Pickett, E.Tait, E.Clarke, E.Peacock, G.Evans, L.Greenwood, H.Pickett, E.Franks, ?, G.Barber, E.Martin. 2nd Row - L to R: R.Joseph, M.Flowers, ?, L.Pratt, ?, M.Pratt, C.Stock, ?, J.Madden, E.Luscombe, (?).Ellis, (?) Madden. 3rd Row - L to R: R.Bonsack, E.Hamilton, E.Wigley, R.Bradshaw, A.Dickson, J.Davidson, A.Pickett, L.Hunt, D.Skurrie, E.Thomas, T.Watson, (?) Luscombe, E.Black, S.Kay. 4th Row - L Maggs, J.Barry, W.Allen, W.Kraefft, W.Pump, A.White, A.Blood, W.Ginn, S.Clarke, C.Nelson. Front Row - H.FrankW.O'Brien, A.Holmes, H.Hunt, J.Stock, T.Murray, ? Von Horn, G.Eastwood, C.Whitechurch, E.Lane, G.Dickson, L.Pratt, W.Meyland, C.Burns, J.Pratt, W.Fisher, T.Rymers, ?, N.Bonsack, H.Little. ---- And Written on backing sheet of one of the enlargements, "Ringwood S. School 5th & 6th Grade, approx. 1918. Back row - D. Pickett, E. Tait, E. Clarke, E. Peacock, G. Evans, L. Greenswood, H. Pickett, E. Frank, x, G. Barvber, E. Martin. 4th row - R. Josephs, M. Flowers, x, L. Pratt, x, M. Pratt, C. Sto??, x, F. Madden, E. Luscombe, x, Ellis, Madden. 3rd row - R. Bensack, E. Hamilton, Evan Wigley, R. Bradshaw, A. Dickson, F. Davidson, A. Pickett, L. Hunt, D. Skurrie, E. Thomas, V. Watson (Wigley), Luscombe, E. Black, S. Kay. 2nd row - L. Maggs, F. Barry, W. Allen, W. Kraefft, W. Pump, A. White, A. Blood, W. Ginn, S. Clarke, C. Nelson. 1st row - H. Franks, W. O'Brien, A. Holmes, H. Hunt, J. Stock, T. Murray, x, Von Horan, G. Eastwood, C. Whitechurch, E. Lane, G. Dickson, L. Pratt, W. Mayland, C. Burns, J. Pratt, W. Fisher, F. Rymers, x, V. Bonsack, H. Little". 4th Row - L to R: L.Maggs, J.Barry, W.Allen, W.Kraefft, W.Pump, A.White, A.Blood, W.Ginn, S.Clarke, C.Nelson. Front Row - L to R: H.Franks, W.O'Brien, A.Holmes, H.Hunt, J.Stock, T.Murray, (?) VonHorn, G.Eastwood, C.Whitechurch, E.Lane, G.Dickson, L.Pratt, W.Meyland, C.Burns, J.Pratt, W.Fisher, T.Rymers, ?, N.Bonsack, H.Little. Teacher:

Typed below enlargement photograph, "Ringwood Citizens Brass Band, 1920". Written on back of another copy, "Ringwood Band (formed 19th September 1921). Photo taken at Reserve, 27th November 1921. Back: C. French, C. Morgan, M. Hodgkins, G. Burns, M. Joseph, H. Hammond, S. Brown, T. Mackey, H. McLoone, W. Fitzell, M. Leach. Middle: N. Wieland, W. Guy, H. Willis, L. Little, H. Bradley (Conductor), E. Homewood, W. Brown, G. Davis. Front: L. Hall, S. Hyden".

Snowy River Shipping Company formed in 1880. They were soon shipping produce (mainly vegetables) from the area to Melbourne. The Snowy River Shipping Company was formed by Mr Henry James during the 1880s, with Captain McNeil as master. Captain Hegarty was the shipping agent at Marlo. Towing a line of small barges these paddle steamers plied their trade between the port of Marlo, and the farms along the river banks, churning their way almost twenty miles upstream to a landing beside what is now Frank Richardson’s property. On these trips, the barges carried mail and supplies to the townspeople and farmers, loading their produce, mostly maize, on the return trip to the coast. The coming of the railway in 1915 spelt the end for the little river boats. ( ref. F. W. RODWELL in the “Snowy Review”) Frank Richardson 1877-1950 was a sawmiller at Tabbara and helped build and run paddle steamer "Curlip"as engineer.This item is associated with an early transport business of the local district. The Snowy River once had its own paddle steamers. This item is reminiscent of that time.A light blue and white blank cheque for the Snowy River Shipping Company. The cheque is for The National Bank of Australasia and is numbered 01,491 in bold black print. It has a one penny stamp duty imprint.snowy-river-shipping-company james-harry

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card.Printed lower left hand side of the card "American Studio, 324 Geo. St."tintype, american studio, woman, unidentified woman, women, photograph

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .2) A tintype portrait of two girls heads, attached to a card. The girls are wearing a cloak with a large bow at the frontlittle gem, women, children, photography, tintype

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .3) A tintype portrait of a woman, attached to a card. little gem, tintype, woman, unidentified woman, women

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .4) A tintype portrait of a man, attached to a card. little gem, tintype, man, unidentified man

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a child, attached to a card. little gem, child, hat

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) In 1863-4 A.Marion & Co. 23 Soho Square, London, were publishing cartes for Southwell Brothers of 16 & 22 Baker Street W. London, and in c.1866 producing cartes wholesale for Mayall of Regent Street. They appear to have printed numerous cards with a very small name printed onto the lower front. Travelling photographers would purchase the cards and sometimes have their own personlaised details printed onto the back..6) A tintype studio portrait of two seated men in suits, attached to a card, possibly brothers. On lower edge of card "marion Imp. Paris"little gem, tintype, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card. Printed on the lower edge of the card "Allen & Gove, American Studion, 6 Sturt St, Ballarat"ballarat, american studio, little gem, allen gove, tintype, woman, unidentified woman, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .8)A tintype portrait of a man's head, attached to a card. The cheeks have been hand coloured.little gem

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a woman's head, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a child's head and torso, attached to a card. The boy is wearing a suit and the cheeks have been hand coloured.little gem

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head and shoulders, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography

Each year World War One and World War Two veteran, and Ballarat Teachers' College Principal addressed the College community for ANZAC Day. The following are excerpts of his 1947 address. "...But we should do more than remember, and instead of pausing once a year for this purpose is should be our aim to remember daily - every day should be an Anzac Day so that we shall be inspired to take stock of ourselves if we are tryig to be worthy of almidst 100,000 dead who died to keep this country free to progress nobly towards a worthy goal, What are we dong about it? As a body of teachers er should be particulalrly concerned, as in our hands largely the growth of the children lies. In the schools we can do much in our work of every day to develop right standards and a better outlook amongst the children it is our privilege to teach. We can successfully teach the three "R's" but if this is all we do then we have failed. Is should be our aim, living in the spirit of those who gace so much, to dedicate ourselfes to the work of teaching young people how to live; to train them gently in ethical standards of conduct; to take responsibility; to live through the operation with otherts; to be prepared to give service without thought of personal gain; to realise to the full all that is best in them for the good of all. What we should do and how it is to be done is difficult to descibe, but if we ourselves have taught something of the Anzac Sprit we shall not fail. In particular, we shold take care of the orphan and th child of the disabled soldier. We should explore all avenues to see what that these children get every opportunity for higher education. As far as it lies in our power we should see that these children do not suffer - thus the legacy of war is ours. In a few months you will be going out to your schools. You will have young children around you. Let you arims be high. Try to live worthily and let your little community be the better and the finer for your coming. If you achiec somethig of thise then 100,000 shall nit have died in vain." Blue soft covered, stapled booklet named 'Extra Muros', the magazine of the Ballarat Teachers College, ANZAC Day. The contents include: The Year's Sport, J. Arthur Rank; Music; Dingo Blood; Anzac Day 1947; History of Sport; J. Arthur Rank Named images include: staff and students; Sports Committee; Social Committee; Student Council; Magazine Committee' Daylesford Camp; Anglesea Camp; Grampians Camp; Exies, College staff and students;A number of authorgraps are written into the back page. ballarat teachers' college, ellwood, lord, robinson, tozer, connelly, pattenden, collins, blake, faulds, sunderland, miller, bryan, yeo, frank lord, lindsay w. harley, lindsay w. harley, anzac day

A miner's dial was used by surveyors to determine the direction of underground tunnels and roadways. The inclinometer allowed measurement of the angles at which mine tunnels descend into the ground.A rare miner's dial in a hinged timber box.This surveying instrument consists of a theodolite monsblr on a magnetic compass, which sits on the vertical tapered spigot of a base plate. Fits tripod catalogued item 4133. Inside the box lid is the supplier's label - W. Travill (successor to D. Esdale) of 146 Little Collins Street, Melbournemining, ballarat school of mines, surverying, scientific instruments, scientific objects