10570 South African (Boer) War Memorial Bendigo. The monument commemorates those who died in service or were killed in action while serving in the South African (Boer) War. It is a bronze statue of a soldier on a granite base. Leader (Melbourne), 19 November 1904. “There was a large assemblage on the afternoon of 11th November, when the ceremony of unveiling the soldiers' memorial statue was performed by Brigadier-General Gordon in the presence of a muster of branches of the defence forces. The statue, which is in bronze, is mounted on a massive granite base, on the foot of which is the following inscription: — "Bendigo's tribute to the memory of the Australian soldiers who, in the South African war of 1899 - 1902 gave their lives for Queen and Empire. The statue was modelled by Mr. J. Walker, a young Bendigonian, who has been studying for two or three years under Mr. A. T. Woodward art instructor at the local school of mines.“ Ola Cohn recalled in her autobiography meeting John Walker as a sculpture student at the Bendigo School of Mines and that he had later received the commission for the Boer War Memorial although she neglects to mention its location. John Walker was born in Bendigo and first studied sculpture at the Bendigo School of Art. Walker, then went to England to study at the Royal College of Art London, and in Paris at the Académie Colarossi and Julian Academy. John Walker worked as a sculptor in both Bendigo and West Brunswick before turning to chicken farming in the Bendigo suburb of White Hills. The photo of A. T. Pattinson was taken by George Leake Massingham, a professional photographer, who had seven children, one of whom died at birth. After arriving in Australia from England, he established himself as a travelling photographer, an occupation he continued after his marriage. He travelled throughout country Queensland, Victoria and New South Wales, setting up studios along the way. The family ended up moving with him, travelling to Sydney, Narrandera, Bendigo, Newtown, Geelong and Deniliquin. Correspondence re Boer War Memorial Bendigo Boer War Memorial Bendigo. Letters and photo from and to Mrs Wilson, eldest daughter of Mr Arthur T. Pattinson who was a model for the Boer War sculpture. 10570a A black and white photo of Trooper Arthur T. Pattinson restored by BHS Volunteers. 10570b The original photo as sent by Mrs Wilson to Harold Curnow (Bendigo Historical Society) in 1962. The photo is mounted on heavy brown cardboard and has an old catalogue number of "P680" inscribed on it. The cardboard is torn and held together with sticky tape. On the front in italics is printed G.L. Massingham, Bendigo. 10570c Notes on the rear of the photo from Mrs Wilson state that "the photo is of Arthur T. Pattinson (Rusty), an Australian Light Horse trooper who served in the Boer War. The Boer War Memorial in Pall Mall Bendigo represents a trooper on guard. The sculptor was Jack Walker who used Pattinson as a model, and it is regarded as an excellent likeness." 10570d A letter from Harold Curnow back to Mrs Wilson on Jan 4th, 1963, acknowledging receipt of the photo and a letter received, noting the significance of the historical information. 10570e Handwritten letter 29/11/1962 from Mrs Wilson to Mr Curnow introducing herself as Mr. Pattinson's eldest daughter and answering the letter he wrote to her father. She mentions the bad health of her parents. Arthur modelled for the statue at least two to three times per week in a studio on the top floor of a building in Bull St. He was the original model to the best of her knowledge. Another model possibly Mr P. Handmear may have sat as a model for renovations (*). The rifle was a light horse rifle issued to Pattinson as he was still serving in 1904. Arthur and Handmear were boys together and very close. * Note - the plaster model was repaired prior to casting in metal. 10570f An obituary notice: 18/11/64 "On Nov. 17 at Frankston, Emma, wife of the late A. T. Pattinson (Rusty), late of Bendigo. 10570g Letter Nov. 20th, 1962, from Harold Curnow to Mr Arthur T. Pattinson, Kent St., Mornington, Vic. "Dear Mr Pattinson, Last week your brother, Brit., whom I have known for many years, supplied the Bendigo Advertiser with some interesting information regarding your role as the model for the late Jack Walker when he was making the statue for the Boer War Memorial here. Yesterday however, another claimant to the distinction of being the model was advanced in the Bendigo Advertiser by Mr Richard Marshall, of Moran Street, Bendigo who said that the soldier's model was Phillip Handmear. I understand that your brother has sent the newspaper cuttings on to you. When he called to see me yesterday, he suggested that I write to you for further particulars. Can you recall the discussion you had with Jack Walker when he approached you about acting as the model and do you remember how many times you posed for him, and whether the work was done in the house, in the yard, or in one of the outbuildings at Moran Street? In short, any details at all. At this point in time we are considering an interesting facet in Bendigo's history, so any seemingly unimportant incidents could really be useful if we knew about them. Have you any old newspaper cuttings mentioning your name in connection with the memorial? Do you remember any remarks that passed between you and Jack Walker during the long sessions you must have put in on this work? This could be very important. And do you recall where the rifle came from? Did you or Jack Walker borrow it from the military authorities? Back in 1934 Jack Walker recalled having had to pull the plaster model down and remake it when he discovered it was slightly off-balance and was slowly toppling forward. He told me he had to get his model to pose again. Do you know anything about this? Could it have been that he got Mr. Handmear in for the final stage of the work? That, of course, would apply only if you were not available. Incidentally, I never heard of Mr Handmear until I saw his name in yesterday's "Advertiser". In any case I intended contacting your brother or you to enquire whether any member of your family has an old photograph of you in your Boer War uniform, that is, one taken about the time of or just after the Boer War. I am sure that members of the Bendigo Branch of the Royal Historical Society would be most interested to see it. I hope you will have the time and inclination to consider the many points I have raised in this letter because the subject has aroused a lot of interest in Bendigo. Hoping you are well and quite as active as you wish, I remain, with all good wishes, Yours sincerely, Harold Curnow". john walker, jack walker, boer war memorial bendigo, arthur pattinson, soldiers' memorial bendigo

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) .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) 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) .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

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) .5) A tintype portrait of a child, attached to a card. little gem, photography, child, portrait

The origin of the book goes back to 2007 when a tin of nitrate negatives (Cat No 1248.2) came to the Bendigo RSL Museum via Aylene Kirkwood (Eaglehawk Heritage Society) and her friend Jean Grinton, Jack Grintons Daughter. The tin of negatives had been sitting in a shed at Jeans place for many years. The RSL Museum sorted some to see what they were about and were mostly WW1 era overseas. The Museum had some reproduced by Wayne Eels a Dark Room Technician and the quality was amazing. A small number were shown at an exhibition in a talk by Museum Curator Peter Ball in March 2008. The exhibition was called “Snapshots and Stories” by Corrine Perkin from the Bendigo Art Gallery and included a number of Bendigo Historical groups. The RSL Museum by then had put together 44 images in 11 frames to make a story (cat No's 5880P to 5890P) and shown at the Bendigo District RSL Sub Branch Inc in April 2008. The exhibition included memorabilia from Jean Grinton. Corrine Perkin who was at the opening spoke to the Curator Peter Ball with the view that a travelling exhibition could be made from this. After discussions then began 12 months research between Corinne and Peter identifying people in the photos, places, deciphering Jack's Diary, researching the 38th Bn to gain an overall picture of Jack and Bert Grinton, producing photos for quality. Eventually an exhibition of photos (Cat No's 7100P to 7179P), story boards with photos (Cat No's 7180 to 7187) came into being. The opening was at the Bendigo Art Gallery on the evening of June 13th 2009 with Les Carlyon as guest speaker and went through until August 2nd. The exhibition was accompanied by memorabilia of Jacks Daughter Jean and Bert's Daughter Dorothy. The exhibition then went onto 4 more locations including the Melbourne Shrine of Remembrance. Jacks service details are in Cat No 1280, Berts are in Cat No 1320P.Book, cardboard cover, 64 gloss pages. Front cover shows Jack Grinton in Barracks hut 19 England in 1916. The book relates to the photo collection of Jack Grinton and his brother Albert (Bert) both in the 38th BN AIF. The publication is in 6 sections. 1. Preface - Karen Quinlan, Director Art Gallery. 2. Two brothers, a Camera and a War to end all Wars - Corrine Perkin, Exhibition Curator Bendigo Art Gallery. 3. The Great War - Les Carlyon, Journalist and Author. 4. Photographing War - Colin Harding, Curator photographic technology, national media museum UK 5. The Grinton Collection in 6 Sub Sections; Living behind the lines. The burden of war. Trip of a lifetime. Portraiture and remembrance. Quota 45: The journey home. Life after 1919.book, camera on the somme, grinton, 38th

Three pages of research by Rita Hull on Friendly Societies. Includes name of Society, when established, the number of Members, and the years 1865,1875, 1881,1891, 1895 and 1907 (an asterisk if they were still operating). Listed are the Society names and the different Court, Lodge, etc. under the name. They are: Manchester Unity Independent Order of Odd Fellows M.U.I.O.O.F. - Loyal Bendigo Loyal Gold Miners' Pride, Loyal James Roe, Loyal Strangers' Refuge, Loyal Heart of Friendship, Loyal Albert, Loyal Sir Henry Barkly, Loyal Catherine, Loyal Darling and Earl of Hopetoun. Ancient Order of Foresters A.O.F. - Court Royal Oak, Court Queen of the Forest, Court Pride of the Forest, Court Happy Valley, Court Bendigo, Court Banner of Hope, Court Sherwood, Court King of the Forest, Court Alexandra, Court Victoria and Court Star of Bendigo (Women). Independent Order of Oddfellows I.O.O. - Loyal Sandhurst Lodge, Court Weeroona and Golden Star Rebekah. Independent Order of Rechabites I.O.R. - Tent Star of Bendigo, Tent Refuge, Tent Cobden, Tent Olive Branch, Tent Laurel, Tent Sutton and Tent Herald of Peace. Sons and Daughters of Temperance - Royal Diadem Division, Ark of Safety, Royal Septre, Hope of Sandhurst (Ladies), Princess Beatrice (Ladies), Lady Loch (Ladies) and Laurel (Ladies). Grand United Order of Oddfellows G.U.O.O.F. - Lodge Star of Eaglehawk, Lodge Sandhurst, Lodge Pride of Bendigo, Lodge Olive Branch and Lodge Belvidere. United Ancient Order of Druids U.A.O.D. - Lodge Quartzopolis, Lodge Eldorado, Lodge Caractacus, Lodge Bendigo and Lodge Sandhurst. Order of St Andrew (Scottish Constitution) - Bendigo Lodge No 1. Order of St Andrew (All Nations) - Lodge Sandhurst and Lodge Unity. Royal Antediluvian Order of Buffaloes R.A.O.B. - Provincial Grand Lodge No 1, Prairie Lodge, Forest Lodge and Southern Cross Lodge. The Hibernian Australasian Catholic Benefit Society H.A.C.B.S. - St Kilian's No 4 and Eaglehawk Branch. Independent Order of Good Templars - Lodge Bendigo, Lodge Guiding Star, and Lodge Hope of Golden Square. Loyal Orange Institution of Victoria - Lodge William Lodge and Loyal Governor Bowen (Pride of Eaglehawksocieties, order of .., list, list of friendly societies, rita hull, manchester unity independent order of odd fellows m.u.i.o.o.f., ancient order of foresters a.o.f., independent order of oddfellows i.o.o., independent order of rechabites i.o.r., sons and daughters of temperance, grand united order of oddfellows g.u.o.o.f., united ancient order of druids u.a.o.d., order of st andrew (scottish constitution), order of st andrew (all nations), royal antediluvian order of buffaloes r.a.o.b., the hibernian australasian catholic benefit society h.a.c.b.s., independent order of good templars, loyal orange institution of victoria, australian natives association a.n.a.

The Bendigo East Primary School was opened in 1915. In 1916 it was decided to plant an ANZAC Avenue of trees and this was completed on 16 June 1916. The plaques were placed after WW1. The school was closed in 1998 and the plaques were relocated to the nearby White Hills Secondary College in Napier Street on this board. In the early 2000's the Honour Board was donated to what is now called the Bendigo Military Museum. One hundred years after planting, later in 2016 the trees were removed in controversial circumstances. On the board 8 never returned, there is 1 x "DCM" winner, 1 x "MC" winner and 1 x "MM" winner. There are 3 x Wright Brothers of which 2 never returned. The plaque states that the soldiers attended the school which is obvious they could not have due to the opening date. The following Heritage report suggests that the names were of individual soldiers who lived in the area. EXTRACT FROM HERITAGE COUNCIL VICTORIA 2016 SUBMISSIONS HEARING “The Bendigo East School (‘the school’) was officially opened by Mr Frank Tate, Director of Education, on 7 April 1916. Approximately two months later, on 16 June 1916, Arbor Day was celebrated at the school with the planting of an ‘Anzac Avenue’ along a path from the front gate on Strickland Road (‘the pathway’) to commemorate the landing of soldiers at Gallipoli. The school’s ‘Anzac Avenue’ was one of an estimated 37 known to have been planted by school children throughout Victoria during mid-1916 as part of a program led by the Education Department, which included a recommendation to schools on 18 May 1916 that commemorative avenues be planted (‘the 1916 plantings recommendation’). At around this time, avenues of honour were also planted across Victoria to commemorate fallen WWI soldiers (‘the wider commemorative plantings phenomenon’). There were other commemorative plantings at the Place away from the pathway (‘the other commemorative plantings’). Anzac Day was celebrated at the Place in the years subsequent to 1916 and on 11 December 1920 the school’s ‘Anzac Avenue’ was officially opened. Embossed copper plates, mounted on wood, were fixed in front of the trees in memory of individual soldiers from the district who had seen active service in WWI. There is evidence that as many as 32 plaques may have been made and affixed (‘the name plaques’). Plaques were removed from their locations at some stage before 1964, mounted on a board and displayed in the school building. These are now located and displayed at Bendigo Sub - Branch of the Returned Services League.” EAST BENDIGO HONOUR BOARD – COPPER PLAQUES (27 PLAQUES in total). 1. 2441 CPL G.V. LE KIM 60th BATT. M.M. (George Vincent LEE-KIM, born in Bendigo, Awarded Military Medal. RTA. NOK Father’s Address: C/- Strickland Rd, Bendigo). 2. 3821 PTE. E.B. HEM 20TH BATT. (Edward Bert Hem born in Bendigo. RTA. NOK Mother’s address: White Hills Post Office). 3. 3513 PTE. C.A. FOLEY 57th BATT. (Charles Albert Foley born in Bendigo. RTA. NOK Father’s address: Wilkie Street, Bendigo). 4. 5241 PTE. G. E. WRIGHT 6th BATT. † (George Edwin Wright born in Bendigo. KIA 8/12/1916. NOK Father’s address: 55 Charleston Rd. Bendigo).   5. 2663 L.CPL. N. E. DAVIS 60th BATT. (Norman Edward Davis born in Footscray. RTA. NOK Mother’s address: 193 Strickland Rd. Bendigo). 6. PTE. A. MOOG 16-6th BATT. † (5143 Adolph Moog born in Bendigo. Died of wounds received in action 8/12/1916, NOK Father’s address: Municipal Yards, Bendigo.) 7. 6515 SGT. W.A. BIRCHMORE DCM 11TH BATT. FIELD ARTILLERY (William Albert Birchmore born in Bendigo. Awarded DCM. RTA. NOK Mother’s address: Butler Street, California Gully) 8. 3924 PTE. J.P. NEWMAN 5TH BATT. † (392 (NAA) James Pausey Newman. Born in Bendigo. KIA 25/7/1916. NOK Father’s address Strickland Road, Bendigo) 9. 4865 PTE. H. T. NUGENT 5TH PIONEER BATT. † (also 4765 Hector Thomas Nugent born in Bendigo. KIA 26/11/1916. NOK Mother’s address: 55 Charleston Rd Bendigo). 10. 835 PTE. C.J. WRIGHT 7TH BATT. † (825(NAA) Charles Julian Wright. Born in Bendigo. KIA at Gallipoli 25/4/1915 NOK Father’s address 55 Charleston Rd Bendigo) 11. 5242 PTE. T.S. WRIGHT M.M. 6TH BATT. (Thomas Stanley Wright born in Bendigo. RTA. NOK Father’s address: 55 Charleston Road, Bendigo). 12. 13111 PTE. R.I. LEE 5TH FIELD AMBCE (19111 Robert Irwin Lee. Born in Kilcunda, Vic. RTA. NOK Wife’s address C/- Barnard Street, Bendigo)   13. 3731 DRIVER T.S. BROWN 5TH BATT.† (Thomas Sheridan Brown born in Bendigo. Died in the Field in France of Heart Failure. NOK Father’s address: Mundy Street, Bendigo). 14. 60999 PTE. J. SPENCE 5th BATT. (John Spence born in Bendigo. RTA. NOK Father’s address: 99 Talbot St, Brunswick) 15. 5127 PTE. S.A. LOY 7TH BATT. (Samuel Arthur John Loy. Born in White Hills, Bendigo. RTA Medical discharge. NOK Wife’s address C/- Hargreaves St Bendigo.) 16. 1649 PTE. A.M. HUTCHINSON 60TH BATT. (Alexander Morton Hutchison. (Note different spelling) born in Bendigo. RTA. NOK Mother’s address Wilkie Street, Bendigo). 17. 3035 PTE. R.J. FLACK 10TH – 7TH BATTs. † (Robert John Flack born in Bendigo. KIA France 17/8/1916. NOK Father’s address: Strickland Road, Bendigo). 18. 4558 PTE. J.J. O’BRIEN 60TH BATT.† (John James O’Brien born in Glenalbyn, Vic. KIA 28/9/1917. NOK Father’s address 68 Strickland Rd. Bendigo). 19. 5233 CPL. G. WHITTING MOTOR TRANSPT. COY. (George Whitting born in White Hills, Bendigo. RTA. NOK Mother’s address: 46 Baxter Street, Bendigo). 20. 5203 PTE. A.J. TATTERSALL 6TH BATTALION (Arthur James Tattersall born in Mandurang, Vic. RTA. NOK Wife’s address “Thornwell”, Bendigo East PO.)   21. 2ND LIEUT. K.G. EMONSON M.C. 38th BATT. (Keith Glanfield Emonson born in Sydney NSW. RTA – Medical discharge/ GSW head. NOK Father’s address: Strickland Road, Bendigo). 22. LIEUT. A.J. HAMPSON RAILWAY UNIT (Alfred John Hampson R/N 2300. Born in Bendigo. RTA. NOK wife’s address: 76 Addison St. Elwood, Vic). 23. 216 SIGNLR R.P. BROWN 38TH BATT † (Raymond Patrick Brown, born in Bendigo. KIA 28 May 1917. NOK. Mother’s address: 138 Mundy Street, Bendigo). 24. 15118 STAFF SGT. A. EMONSON 3RD L. H. F. AMBULANCE (Harry Allen Phipps Emonson born in Sydney NSW. RTA. NOK Father’s address Strickland Road, Bendigo, Vic). 25. 1724 CPL. L.J. CHAPPLE 5TH BATT. (Leslie John Chapple born in Bendigo. RTA. NOK Father’s address: Nolan Street, Bendigo) 26. 4557 PTE. E. O’BRIEN 60TH BATT. (Edward Charles O’ Brien, RTA. (NOK Father’s address: Strickland Rd, Bendigo). 27. 3557 SIGNLER F. H. LYALL 5TH BATT. (Francis Hubert Lyall born in Bendigo. RTA. NOK Father’s address: Strickland Rd, Bendigo). Honour Board, Bendigo East Primary School, timber backing with a white timber edging. At the top is a silver Rising Sun Badge with the dates in white "1914 & 1919". There are 27 bronze plaques, each has the Soldiers Regt Number, Name, Rank and Unit, for those that did not return there is a Cross added, if the Soldier won an award it is also added. At the bottom left hand corner is a brass plaque with details. Refer Aquisition for details. On the brass plaque, “These plaques were placed on the Avenue of trees at the school entrance on 20 December 1920. They were a memorial to those who enlisted from the Bendigo East School in the 1914 - 18 War. Mr R. J. Lee a Returned Soldier was Principal at this time”memorials-honour boards, military history-service records, metalcraft-bronze, east bendigo

Taken in Beechworth 1867, this photograph depicts the Bank of Victoria on the corner of Camp and Ford Street. This building was erected in 1867 to replace the former bank that was destroyed by a fire on the same site. This classical style structure was designed by architects Smith and Johnson who designed many of the public buildings in Melbourne and Victoria. Arthur Ebden Johnson, 1821–1895 and Alfred Louis Smith, 1830–1907 were appointed as the Bank of Victoria's architects who, in-conjunction with the Branch in Beechworth, also completed branches in Wangaratta and Bendigo. This photograph was taken and produced by the American and Australasian Photographic Company which was founded by Beaufoy Merlin joined by his assistant, Charles Bayliss and Augustus Clinton, and operated between 1866-1873. The company traveled throughout Victoria and New South Wales before establishing a portrait studio in Sydney. There is no apparent connection to America. Sepia rectangular photograph. Image is printed on matte photographic paper and has a white border.Reverse: 1997.2727 (in pencil) Bank of Victoria / Beechworth / 1877 (in pen) Harvey Collection American & Australasian / Photographic Company / Victoria Branch / C. Bayless, Manager No 56beechworth, bank of victoria, american and australasian photographic company, 1877, c.bayless, harvey collection, arthur ebden johnson, alfred louis smith, smith and johnson

James Roe Lodge was part of the Manchester Unity group.It was unveiled in September 1921.This is a carved decorative white marble honour roll. The title and names (Surname with initials) are carved into the marble. The head piece is a curved top. It has a carved hand with a red heart in the palm. The wrist of the hand is attached to a sphere. Either side of the hand are some branches. On the outside of the branches are the letters "M" on the left and "U" on the right. The whole display is then mounted on a brown concrete background 25mm thick.“James Roe Lodge - Our Soldier Brethren - 1914 - 1919”ww1, names, honour board, lodge, roe

This plaque was placed at 18 - 22 High Street Eaglehawk which was the HQ off the Eaglehawk RSL Sub Branch. Refer Cat No 8110 for the Sub Branch History.Plaque granite construction rectangular shape with gold inscriptions relating to the donation of the building to the Eaglehawk RSL Sub Branch by Mathew’s Bros during WW2“24.4.43”brsl, smirsl, ehrsl

This building was a Nissan Hut which was opened in 1957 and was then the HQ of Eaglehawk RSL Sub Branch. Refer Cat No 8110 for the Sub Branch History.Plaque granite construction rectangular shape with gold inscriptions relating to the official opening of the Eaglehawk RSL Sub Branch in 1957.“12.10.1957”brsl, smirsl, ehrsl

This is a very early photo of the Nissan Hut which became the HQ of the Eaglehawk RSL Sub Branch officially opened in 1957. Refer Cat No 8118 Plaque re the opening & 8110 re Sub Branch History.Photograph B & W showing a Nissan Hut on a block, two men are standing in the far right corner.brsl, smirsl, ehrsl, photograph, nissan

The receipts and expenditure of the EagleHawk RSL Sub Branch cover the years 1960 - 2005. On the final entry a note in red pen dated 28.2.2005 that this was the close of business and the amalgamation of the Eaglehawk RSL Sub Branch with The Bendigo RSL, a final date under is 7.03.2005.Receipt expenditure book, spine and corners are brown leather suede, front & rear face is green buckram, a label on the spine Has "CASH BOOK", ruled lines in blue /red, vertical lines in red. The entries are in blue pen and some minor points in red. On the first page is a typed letter pasted in re a 5 Pound School Scholarship from the Eagle Hawk RSL per year. At the rear is a hand written note with a list of 12 names being the "Foundation Members". Lose is an invoice for the use of the Eaglehawk building by the Electoral Commission re the use of the building for $300.00. Last is a letter from the Commonwealth bank re the merger of the State Bank of Victoria with the Commonwealth.brsl, smirsl, ehrsl, expenditure,

Soft cover book. Cover - cardboard, white background with red and black print on front, spine and back. Illustrated on front in colour, collection of seven flags. 64 pages, cut , plain, white gloss paper. Illustrated in colour photographs and flag illustrations. End paper - have printed information, green, black and gold colours.books, australian flags

RAAF full size badge uniform Hat Cap beret. Worn on the cap to signify the branch of the services. Belongs to "Peter Stoklahsa". Enlisted 1966 refer Cat No. 7674P.Gold circular Insignia. Circle of Golden Wattle with a crown on top. The centre filled with the letters of "RAAF". On the back attached 2 metal pins and 2 metal studs to pin to hat.raaf, uniforms, peter stocklahsa

From back cover- "FROM THE BOER WAR 1900/ TO EAST TIMOR 2000/ MILDURA WAS THERE! / A HISTORY OF SERVICE IN WAR & PEACE."Soft Cover Book. Cover - cardboard with adhered paper cover with gloss finish. Red colour print on front, spine and back cover. Illustrated, front colour photograph of a building entrance - "MILDURA RSL". Back - colour photograph of a stained glass memorial window. 205 pages, cut, plain white paper. Illustrated black and white and colour photographs, portraits and cartoons. Commissioned by the "MILDURA RSL SUB-BRANCH INCORPORATED".books, history, mildura rsl sub branch

Division of Responsibility within the Army Survey Regiment detailing the Management, Logistics, Production and Training in some detail. Sections detail the functions of key personnel and sub sections within the Regt. Other Sections describe production responsibilities, coordination of production aspects, management, manning and supply. Annex A has 13 x appendices. The "P" category has Personnel Employment - Officers, Other Ranks and Misc. Individual Support, Collective Support, Discipline, Financial, Conditions of Service, Ceremonial, Personnel Branch Services, Individual Training and other functions not allocated to the "P" category.A4 booklet detailing the division of responsibility within the Army Survey Regiment, paper pages with two staples on the booklet spine.royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

These nine photographs of contractors felling a sequoia Californian redwood tree was taken at the Army Survey Regiment, Fortuna, Bendigo on the 16th of September 1994. Although 23 photos were taken at the time, 14 were not scanned due to their similarity to the nine featured photos. Two sequoia Californian redwood trees were planted at the front entrance of Fortuna Villa in the early days of gold mining magnate George Lansell’s occupation in the 1870’s. They were of immense proportion and much admired during the Lansell era and RA Svy’s occupation from 1942 to 1996. In these early days of Army occupation, the trees were lopped due to concerns of their size and proximity to the Villa. The felling of the tree in 1994 was considered unsafe due to perceptions of disease. These perceptions were upsetting to staff, as some believed that although there were a few dead branches, the tree was OK. As the tree had a noticeable lean, measurements were taken indicating the tree was stable. A sequoia sapling was eventually planted as a replacement to the diseased tree. It was decided to mill and store the timber of the felled tree on-site due to its historical significance. Although future uses were not determined at the time, the timber was eventually used to construct display cabinets and souvenir pens. When Defence decided to relocate geospatial production to a new facility in Junortoun an outer suburb of Bendigo in 2008, the sequoia timber was used as a beautiful feature in the front foyer as well as several feature walls within the building, providing a historical connection Fortuna Villa.This is a set of nine photographs of contractors felling a Sequoia (Californian redwood) tree at the Army Survey Regiment, Fortuna, Bendigo on the 16th of September 1994. The colour photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, colour, 1994, Felling of sequoia Californian redwood tree. .2) - Photo, colour, 1994, Felling of sequoia Californian redwood tree. Neil Morgan (ground maintenance) is hugging the tree. .3) - Photo, colour, 1994, Felling of sequoia Californian redwood tree. .4) to .8) - Photo, colour, 1994, Felling of sequoia Californian redwood tree. .9) - Photo, colour, 1994, background on left - WO2 Bob Garritty, foreground L to R: Geoff (ground maintenance), unidentified, Neil Morgan (ground maintenance)..1P to .9P – No personnel are identified.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

Refer Cat No. 1280. "JACK GRINTON No. 1038" 38th Bn - Refer Cat No. 1280 for Service History. "BERT GRINTON No. 5024" 38th Bn - Refer Cat No. 1320P for Service History.Story Board - framed. Story board - black print on white and pale blue background on synthetic paper adhered to backing board. Illustrated - one black and white photograph, one colour photograph. Frame - metal with wood backing board."A CAMERA ON THE SOMME" "Life after 1919" Photographs - black and white - "Grinton family: Jack, Bert and Fred (back), and Arthur, May, Hughina and Emily (front) Tragowel 1920", Colour - "38th Battalion reunion hosted by the Grintons"framed accessories, camera on the somme, ww1, 38th bn, grinton

Telex from Assistant Secretary Major Contracts Branch. Due to problems encountered during functional testing of the Raster Scanning Sub System (RSSS) that Army Svy Regt cease acceptance testing. Intergraph will be required to resolve the problems identified and to give the Commonwealth a high degree of confidence that the RSSS would then be able to satisfactorily complete functional testing.Photocopy of a Telex, 5 x foolscap pagesroyal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

John Kerr Barnes OAM. This award is a yearly one by the Victorian Licensed Sub Branches Association for 10 years exemplary service. Licensed Sub - Branches can nominate members for this award. Refer Cat No 8040 for Jacks other awards, Committee/Volunteer work with the Sub - Branch and his WW2 service.Award, framed, frame is timber/plastic brown & black colours, there are two insets in a black backing. Top has a ribbon red white and blue with a medallion goldish colour with black text with central part is the RSL Logo, bottom has text re the award to.On medallion, "RSL Licensed Sub Branches Association Victoria" On bottom inset, "Hall of Fame Inductee2002 presented to Jack Barnes Bendigo District RSL Sub - Branch INC"smirsl, hall of fame., brsl

These membership record sheets appear to have been used for a period as part of membership up to about 2005.Membership record sheet, all print in blue, double sided, divided into 12 tear of sections, 3 sections in a row are for 3 purposes, sub branch record, State Branch remit and RSL member, front face has the RSL logo on all 12 sections.brsl, smirsl, membership rsl

The first mention of a Ball held by the Sub Branch is in 1926, these events were fund raisers.Card, one sided double entree ticket to a "Military Ball 1929". At the top "Returned Soldiers League Bendigo"brsl, smirsl, military ball