At ‘Dalriada’, previously ‘Clifton’, 77 Union Road, corner Bona Vista Avenue (dem.) Home of Charles and Sarah Steele pictured with Bertrand Steele and wife Amy, daughter of John Woodhead of ‘Kirklands’. ‘Dalriada’ was built on Woodhead’s land. In 1892 Bertrand purchased the pharmacy on S.W. corner Canterbury/Union Road and moved it to the ‘new’ Surrey Hall. By 1894 he had returned it to its former site where he remained in business until 1900 when he married Amy and went overseas. In 1910 Bertrand Steele became Professor of Chemistry in Brisbane. As his son-in-law, Bertrand was executor of the estate of John Woodhead of ‘Kirklands’. Charles Henri Dillon Steele (1869-1935) - Parents: Samuel Madden Steele and Harriet Sarah Acock. He married Sarah Margaret Russell. They had 2 daughters Margaret Dillon Steele who married William Brayshay Woodhouse, dentist, and Harriet Vevers Steele. From Dentistry Museum site: “Charles Henry Dillon Steele was one of the pioneers of Dentistry in Victoria. He was born in England in 1869 and came to Melbourne in 1889. He was registered by the Dental Board in 1890 and practiced in Collins Street until his death in 1935. His daughter Margaret Dillon (Nancy) Steele graduated BDSc Melbourne in 1929 and obtained the degree of DDS in Toronto in 1931. She returned to Melbourne and rejoined her father in practice at 90 Collins Street and later at 147 Collins Street. In 1935 she married William Brayshaw Woodhouse (BDSc, DSc Melbourne) who bought the practice of Mr. Steele in that year and continued in practice there until 1980. Their son Anthony Dillon Woodhouse graduated BDSc (Melb) 1958 and DDS (Toronto) in1966 and continued in the old family practice established by Mr. Steele." (Dr. Tony Woodhouse, May 1984) Sarah Steele - Born Sarah Margaret Russell, after her marriage to Charles Henry Dillon Steele was very active in community work, notably as President of the local Patriotic League. It was she who persuaded John Kendrick Blogg to carve the Honour Roll for The Shrine in the Surrey Gardens. A black and white photograph of a family group seated on the grass. (mr) bertrand steele, (mr) john woodhead, house names, pharmacists, dentists, clothing and dress, union road, surrey hills, (mr) charles henri dillon steele, 'kirkland', 'clifton', 'dalriada', (miss) amy woodhead, (miss) sarah margaret russell, (mrs) sarah margaret steele

"Captain Simon Thomas Staughton was the son of Simon Thomas Staughton MLA who had built the mansion Eynesbury on his share of the Exford property inherited from his father Simon Staughton, the original 1840s Werribee River squatter. When the land was sold, Simon’s Exford station extended from Mt Cotterell to the Brisbane Ranges. ST Staughton (senior) was a reputedly the public spirited member of the family in his generation, being a member of the first Roads Board (and Melton Shire President in 1867), a JP, Magistrate and MLA for Bourke from 1883 until his death in 1901, whereupon his son became the MLA for Bourke. Captain ST Staughton had earlier been chosen as a member of a contingent of Victorian Mounted Riflemen sent to England for Queen Victoria’s Diamond Jubilee (1897), and was later a member of King Edward’s coronation escort. In October 1899 he had sailed for South Africa with other Mounted Riflemen from Victorian and NSW to take part in the Boer War. There he was awarded the DSO. He died of peritonitis in 1903, aged 27. He was buried in Boroondara Cemetery after a full military funeral, in which the coffin was borne on a gun carriage drawn by four black horses. All local newspapers reported eloquently on the funeral, and the late Captain’s virtues. The Staughton Memorial Lamp was given to the town by his young widow in 1903. In addition a window in the (former) Christ Church bore the inscription ‘This window is erected by his brother soldiers in loving memory of Captain S Tom Staughton, DSO, ADC, MLA’. The Staughton family had been prominent benefactors of the Church, whose altar rails were also inscribed to the much respected Captain, along with a memorial stone in the new chancel. In the 1970s the memorial was within one of four fenced tree plantations, probably erected and planted in the 1920s or 30s. When High Street and its service roads were redesigned in the 1970s the plantations were completely removed, and the Melton and District Historical Society was successful in having the memorial moved about 50 metres east to its present location". The Weekly Times article about a gift from Tom Staughtonlocal identities

TROVE : Newcastle Morning Herald and Miners' Advocate (NSW : 1876 - 1954) , Sat 3 May 1902 , Page 10, Advertising Wholesale Agents F.H. Faulding and Co. Ltd., 16 O'Connell St, Sydney. Three amber glass rectangular bottles with black Bakelite screw tops, containing a dark liquid. Front paper bottle label printed in red, yellow, black and white, Rear paper label black printed on white and applied in an a cartouche impressed on the bottle. Embossed on the base of all three bottles 'AGM' logo (post 1934 version) and 'V42'. On the side at the base of item 1 of 3 numeral '1', on the side at the base of item 2 of 3 numeral '5', on the side at the base of item 3 of 3 numeral '4', Front paper label : 'FAULDING'S ELIXIR OF IRISH MOSS OR CARRAGEEN TOGETHER WITH OXYMEL OF SQUILLS WITH TOLI recommended For Colds, Coughs, Influenza, Bronchitis, Whooping Cough, Croup, and similar Chest and Throat Complaints. 3 FL. OZS. F.H.FAULDING & CO TTD AUSTRALIA'. Rear paper label : 'DIRECTIONS Adult dose two teaspoonfuls in water, hourly until relief is obtained. Children from one to four years old, 10 drops in lukewarm water every four hours; from four to seven years, 20 drops in water every four hours; seven to fifteen years, 1 teaspoon in water every two hours. F. H. FAULDING & CO LTD. ADELAIDE, PERTH, SYDNEY, MELBOURNE, BRISBANE, LONDON'.irish moss, carrageen, elixir, medicine, influenza, whooping cough, bronchitis

This photograph was taken at the wreck site of the HMAS Warrnambool J202, wrecked on September 13th 1947. The bell was recovered in 1948 by the Royal Australian Navy. The ship's bell has been of great importance to a ship for hundreds of years. The bell is used for the timing of ships watches, for emergencies and many other purposes. It is also a prized possession when a ship is wrecked or broken up, as lasting memorial of the ship's existence. The HMAS Warrnambool J202 was commissioned by the Royal Australian Navy for use as a minesweeper during World War II. The Bathurst Class Corvette, fitted out with a range of armaments, was launched in Sydney 1941 and was. The ship began service in Bass Strait in 1941. At the end of the year it called into its namesake city, Warrnambool, where the crew paraded for the public marching eastwards along Timor Street. A gift of books for the ship’s personnel and a plaque bearing the City of Warrnambool’s Coat of Arms were presented to the ship. The ship was involved in evacuating a family of nine from the Dutch East Indies that was later successful in its challenge of Australia’s Immigration Restriction Act (White Australia Polity). The ship had many other appointments around Australia. On 13th September 1947 HMAS Warrnambool was leading a flotilla of minesweepers in northern Queensland’s coastal waters, clearing mines previously laid to defend Australia. The ship hit a mine, which exploded and very quickly sunk the ship. Boats from the nearby ships rescued most of the seamen although one was killed at the time. The survivors were taken by the HMAS Swan II to Darwin, and they went from there to hospitals in Brisbane and Sydney. Three of these men later died from their injuries. A number of items were recovered by Navy divers in 1948 including the ship’s bell and a plaque with Warrnambool’s Coat of Arms. In 1972-75 the wreck was sold and other items were salvaged. In 1995 a memorial plaque was erected in Warrnambool near the RSL. NOTE: The RAN built a second HMAS Warrnambool FCPB204, launched in 1981 and decommissioned in 2005. There was also a steam ship SS Warrnambool built in London 1892 and broken up in 1926. [A more detailed history can be found in our Collection Record 3477.] This photograph is significant for its association with the lifesaving rescue of the crew and the sinking Royal Australian Navy vessel, HMAS Warrnambool (J202). The HMAS Warrnambool played a nationally significant role in overturning Australia’s Immigration Restriction Act 1901 (colloquially known as the White Australia policy). The ship rescued, and brought to Australia, Samuel and Annie Jacob and their family after they evacuated Dutch East India. The family was threatened with deportation and made the first successful appeal to High Court regarding that Act. The HMAS Warrnambool has - Local significance for being the namesake of the City of Warrnambool - Local significance, having docked in Warrnambool Harbour - Local significance, the crew having paraded in Timor Street, Warrnambool - State significance for its first patrol being in Bass Strait. - National significance, being present in Timor at the Japanese surrender - National significance, shown by the significance of the ship’s bell being curated as Military Heritage and Technology at the Australian War Memorial. - National significance as part of Australia’s defence force history, being one of only four Bathurst class corvettes lost while in Australian service, the only Bathurst class corvette lost after World War II, the only RAN vessel to be sunk by a mine, and associated with the last four Navy deaths of WWII Photograph of ship bell from shipwreck of HMAS Warrnambool, sunk on 13-09-1947. The black and white photograph of the bell shows its inverted 'U' shaped fitting on top and inscribed letters around it. The flared base of the bell has concentric rings as decoration. In photograph, inscription on bell "- ARNAMB-" [WARRNAMBOOL]flagstaff hill, maritime village, maritime museum, warrnambool, shipwreck coast, mort's dock & engineering co ltd, h.m.a.s. warrnambool, hmas warrnambool, hmas warrnambool i, hmas warrnambool j202, hmas swan ii, j202, world war ii, bathurst class corvette, royal australian navy, ran, sydney built ship, bass strait patrol, sea mine patrol, mine sweeper, mine clearance, navy divers, great barrier reef, cockburn reef, southern cross diving and salvage, warrnambool city council, cr j r astbury, mayor j r astbury, warrnambool patriotic fund, seal, coat of arms, dedicatory plaque, hmas warrnambool 1941, shipwreck by sea mine 1947, sinking ship, sunk ship, sea rescue, life saving, lifesaving, hmas warrnambool ship’s bell, ship’s bell, minesweeper

Federation University Australia showcased its students and research at a luncheon for His Royal Highness The Prince Edward, Earl of Wessex KG GCVO, at the Mt Helen Campus on Sunday, 8 April. The University’s student leaders and academics joined other dignitaries and business representatives for the special event. “The University is deeply honoured to host HRH The Earl of Wessex and share his passion for volunteerism and The Duke of Edinburgh’s International Award,” Professor Helen Bartlett, Vice-Chancellor, said. Prior to the luncheon HRH The Earl of Wessex experienced a Welcome to Country and Smoking Ceremony at the University. The program included showing HRH The Earl of Wessex concept plans for a refurbished Sports Science facility at the Mt Helen Campus.  Guests were treated to a performance by the Arts Academy’s renowned vocal ensemble Word of Mouth. At the conclusion of the luncheon, HRH The Earl of Wessex planted a tree at the Student Commons Courtyard. The visit to the University by HRH The Earl of Wessex was the first by a member of the Royal Family since Prince Charles visited in 1974. HRH The Earl of Wessex was in Australia to attend the Commonwealth Games and undertake additional engagements to recognise and promote The Duke of Edinburgh’s International Award in Australia. HRH The Earl of Wessex, who is the Chair of The Board of Trustees of The Duke of Edinburgh’s International Award Foundation, attended 32 engagements across Melbourne, Ballarat, Hobart, Brisbane, and Adelaide, from formal receptions, Award presentations, meetings with government officials and the community sector, to meeting Award Participants and their families at community centres.  The events enabled HRH The Earl of Wessex to engage with over 1,000 young people undertaking the Award, and over 3,400 Award volunteers and supporters who will have the opportunity to discuss their activities and showcase the work being done to help young Australians dream big, challenge themselves and find their purpose, passion and place in the world. HRH The Earl of Wessex’s visit celebrates significant milestones and growth in the diversity of The Duke of Edinburgh’s International Award program in Australia.  “The Award’s relevance to all young Australians is as important today as it was when it started over 60 years ago,” Mr Peter Kaye AM, Chief Executive Officer of The Duke of Edinburgh’s International Award – Australia, said. “Employers in particular are recognising the ‘soft skills’ that are so necessary for a well prepared future employee.”Invitation and dress code in a gold envelope. Addressed "Ms Clare Gervasoni Curator, Art & Historical Colelctions Federation University Australia Mt Helen Campus"prince edward, earl of wessex, helen bartlett, visitors, royal visit

Federation University Australia showcased its students and research at a luncheon for His Royal Highness The Prince Edward, Earl of Wessex KG GCVO, at the Mt Helen Campus on Sunday, 8 April. The University’s student leaders and academics joined other dignitaries and business representatives for the special event. “The University is deeply honoured to host HRH The Earl of Wessex and share his passion for volunteerism and The Duke of Edinburgh’s International Award,” Professor Helen Bartlett, Vice-Chancellor, said. Prior to the luncheon HRH The Earl of Wessex experienced a Welcome to Country and Smoking Ceremony at the University. The program included showing HRH The Earl of Wessex concept plans for a refurbished Sports Science facility at the Mt Helen Campus.  Guests were treated to a performance by the Arts Academy’s renowned vocal ensemble Word of Mouth. At the conclusion of the luncheon, HRH The Earl of Wessex planted a tree at the Student Commons Courtyard. The visit to the University by HRH The Earl of Wessex was the first by a member of the Royal Family since Prince Charles visited in 1974. HRH The Earl of Wessex was in Australia to attend the Commonwealth Games and undertake additional engagements to recognise and promote The Duke of Edinburgh’s International Award in Australia. HRH The Earl of Wessex, who is the Chair of The Board of Trustees of The Duke of Edinburgh’s International Award Foundation, attended 32 engagements across Melbourne, Ballarat, Hobart, Brisbane, and Adelaide, from formal receptions, Award presentations, meetings with government officials and the community sector, to meeting Award Participants and their families at community centres.  The events enabled HRH The Earl of Wessex to engage with over 1,000 young people undertaking the Award, and over 3,400 Award volunteers and supporters who will have the opportunity to discuss their activities and showcase the work being done to help young Australians dream big, challenge themselves and find their purpose, passion and place in the world. HRH The Earl of Wessex’s visit celebrates significant milestones and growth in the diversity of The Duke of Edinburgh’s International Award program in Australia.  “The Award’s relevance to all young Australians is as important today as it was when it started over 60 years ago,” Mr Peter Kaye AM, Chief Executive Officer of The Duke of Edinburgh’s International Award – Australia, said. “Employers in particular are recognising the ‘soft skills’ that are so necessary for a well prepared future employee.”Photograph of the Royal Standard Flying on the Federation University Mt Helen Campus flagpoles during the visit of HRH the Prince Edward, Earl of Wessex, KG GCVO. Prince Edward visited the Mount Helen campus as the Chair of the trustees of The Duke of Edinburgh's International Award Foundation. The award is the world's leading youth achievement award. It has helped inspired, empower, connect and recognise the achievements of more than 8 million young people in more than 140 countries. The Award presents a balanced, non-competititive program of voluntary activites that encourage personal discovery, growth, resilience, perseverance, responsibility and community service. It is about individual challenge and encouraging young people to become mature and active citizens who positively contribute to society, through activities that inspire them.prince edward, earl of wessex, royal visitor, duke of edinburgh's international award foundation, federation university, royalty

Federation University Australia showcased its students and research at a luncheon for His Royal Highness The Prince Edward, Earl of Wessex KG GCVO, at the Mt Helen Campus on Sunday, 8 April. The University’s student leaders and academics joined other dignitaries and business representatives for the special event. “The University is deeply honoured to host HRH The Earl of Wessex and share his passion for volunteerism and The Duke of Edinburgh’s International Award,” Professor Helen Bartlett, Vice-Chancellor, said. Prior to the luncheon HRH The Earl of Wessex experienced a Welcome to Country and Smoking Ceremony at the University. The program included showing HRH The Earl of Wessex concept plans for a refurbished Sports Science facility at the Mt Helen Campus.  Guests were treated to a performance by the Arts Academy’s renowned vocal ensemble Word of Mouth. At the conclusion of the luncheon, HRH The Earl of Wessex planted a tree at the Student Commons Courtyard. The visit to the University by HRH The Earl of Wessex was the first by a member of the Royal Family since Prince Charles visited in 1974. HRH The Earl of Wessex was in Australia to attend the Commonwealth Games and undertake additional engagements to recognise and promote The Duke of Edinburgh’s International Award in Australia. HRH The Earl of Wessex, who is the Chair of The Board of Trustees of The Duke of Edinburgh’s International Award Foundation, attended 32 engagements across Melbourne, Ballarat, Hobart, Brisbane, and Adelaide, from formal receptions, Award presentations, meetings with government officials and the community sector, to meeting Award Participants and their families at community centres.  The events enabled HRH The Earl of Wessex to engage with over 1,000 young people undertaking the Award, and over 3,400 Award volunteers and supporters who will have the opportunity to discuss their activities and showcase the work being done to help young Australians dream big, challenge themselves and find their purpose, passion and place in the world. HRH The Earl of Wessex’s visit celebrates significant milestones and growth in the diversity of The Duke of Edinburgh’s International Award program in Australia.  “The Award’s relevance to all young Australians is as important today as it was when it started over 60 years ago,” Mr Peter Kaye AM, Chief Executive Officer of The Duke of Edinburgh’s International Award – Australia, said. “Employers in particular are recognising the ‘soft skills’ that are so necessary for a well prepared future employee.”Blue Federation University poster created to welcome HRH Prince Edward to the Mount Helen Campus poster, banner, prince edward, royal visitor

Federation University Australia showcased its students and research at a luncheon for His Royal Highness The Prince Edward, Earl of Wessex KG GCVO, at the Mt Helen Campus on Sunday, 8 April. The University’s student leaders and academics joined other dignitaries and business representatives for the special event. “The University is deeply honoured to host HRH The Earl of Wessex and share his passion for volunteerism and The Duke of Edinburgh’s International Award,” Professor Helen Bartlett, Vice-Chancellor, said. Prior to the luncheon HRH The Earl of Wessex experienced a Welcome to Country and Smoking Ceremony at the University. The program included showing HRH The Earl of Wessex concept plans for a refurbished Sports Science facility at the Mt Helen Campus.  Guests were treated to a performance by the Arts Academy’s renowned vocal ensemble Word of Mouth. At the conclusion of the luncheon, HRH The Earl of Wessex planted a tree at the Student Commons Courtyard. The visit to the University by HRH The Earl of Wessex was the first by a member of the Royal Family since Prince Charles visited in 1974. HRH The Earl of Wessex was in Australia to attend the Commonwealth Games and undertake additional engagements to recognise and promote The Duke of Edinburgh’s International Award in Australia. HRH The Earl of Wessex, who is the Chair of The Board of Trustees of The Duke of Edinburgh’s International Award Foundation, attended 32 engagements across Melbourne, Ballarat, Hobart, Brisbane, and Adelaide, from formal receptions, Award presentations, meetings with government officials and the community sector, to meeting Award Participants and their families at community centres.  The events enabled HRH The Earl of Wessex to engage with over 1,000 young people undertaking the Award, and over 3,400 Award volunteers and supporters who will have the opportunity to discuss their activities and showcase the work being done to help young Australians dream big, challenge themselves and find their purpose, passion and place in the world. HRH The Earl of Wessex’s visit celebrates significant milestones and growth in the diversity of The Duke of Edinburgh’s International Award program in Australia.  “The Award’s relevance to all young Australians is as important today as it was when it started over 60 years ago,” Mr Peter Kaye AM, Chief Executive Officer of The Duke of Edinburgh’s International Award – Australia, said. “Employers in particular are recognising the ‘soft skills’ that are so necessary for a well prepared future employee.”Photograph of the seating arrangements for the dinner with HRH Prince Edward at Federation University Mount Helen Campus poster, prince edward, royal visitor, seating arrangement

Has tickets from:, ESCo Ballarat, Form TYE 1-37 re acceptance of breach of regulations - to Reg Item 5017, Geelong tramways – 1, Bendigo ESCo – 3, SEC – weekly, tourist and parcel / newspaper, scholars, SEC – various, also for Ballarat, Bendigo and Geelong and small packet of loose tickets., Prahran and Malvern Tramways Trust, MTT Adelaide including a small packet of loose tickets, MMTB – 2 sheets including two loose sheets with tickets and a Pensioners Fare Concession Certificate for 61 – 62 with some loose tickets, NSW – Sydney two pages, NSW – Newcastle one page + 2 tickets, and four tickets for the Yass to Yass Junction tram Brisbane – two pages with one Rockhampton ticket, VR St Kilda Brighton, Parramatta steam tram – Sydney ferries limited, Hobart, Launceston, Wellington NZ – two pages, Christchurch, Wanganui, Auckland, New Plymouth - 1, Invercargill - 1, Johannesburg, Cape town, Pretoria – 1, Liverpool, Sheffield, London – 3 pages + loose 7 day go as you please issued in 1963 to Wal Larsen, Manchester, Newcastle and Gateshead, Bolton, South Lancashire Transport – 1, Oldham, Barry Corporation – Lancs, Birmingham, Llandudno, Salford, Stockport, Sunderland, South shields, Edinburgh, Glasgow, Leeds, Darwen Corporation – 1, Dublin, Belfast, Blackpool – 1, South Wales – 1, Bradford, Dundee, Southampton, Plymouth, Leicester, Douglas, Southend on Sea, Croydon, Naples and other Italian ones, Antwerp – 1, Istanbul, St Quentin, Vevey Switzerland, Dusseldorf, Bombay, Calcutta, Karachi, Bangkok, Penang, Milwaukee Electric Railway, Los Angeles Railway – loose on page was a Tram pass for American Fleet celebration, 2/9/1908 to Eaglehawk - to Reg Item 5017, Market St Railway, Loose San Francisco Municipal railway, Puget Sound, St Louis Public Service Co., Sandwich, Tacoma Railway, Capital Transport Little Rock, Pittsburgh, Connecticut – New Haven, Twin City Lines, Chicago and West Towns, Chicago Aurora and Elgin, Elgin and Belvidere, Chicago Rapid Transits, Chicago Surface, ClevelandFeatures tickets from Australian and Overseas tramway systems. Collected by Wal Jack. Light brown paper covered album with dark red binding band, with off-white paper inside covers holding some 40 sheets of card on which tickets have been mounted using stamp hinges, captions in blue or black ink. Three supplementary sheets have been glued in as well. Has some 750 tickets including loose tickets. Reg Items 5017 (ESCo Employee Report outcome) and 5018 (Bendigo Tramways ticket for the visit of the personnel from the American Fleet - 1908) were loose in the album and have been separately collected. Some tickets in envelopes of clipped into the sheets.Individual captions for each group of tickets from a city.trams, tramways, tickets, ballarat, melbourne, usa, uk trams, esco

Lou HUBBARD (1957 -) Born Brisbane, Queensland After a career in the film and television, Melbourne based artist Lou Hubbard completed a Master of Fine Art at RMIT University in 2001. She works primarily with video and installation, and has exhibited widely throughout Australia and internationally, Lou Hubbard is currently the Head of Photography at the Victorian College of the Arts. In announcing the award 2015 Guiguis New Art Award the judges applauded Lou Hubbard on her compelling installation, which comprised a deflated, disembowelled latex horse collapsed over a Coalbrookdale patio chair, table and bench seat situated over a skateboard and plastic dog. “Occupying a space between the traditions of equine, assemblage and unmonumental sculpture, Lou Hubbard’s Dead Still Standing confounds and compels viewers in its uncanny play of materials and movement,” senior curator, contemporary art, National Gallery of Victoria and judge Max Delany said. “In this elaborate yet concise work, Hubbard has created a form of surprising and unsettling effect that reflects our experience of a world in translation.” The win came as a surprise for Hubbard, who said she was overwhelmed at the talent of all 15 finalists. “I was so surprised, because I was in good company with the other artists, who were all quite extraordinary,” she said. “In the nature of the competition, I feel very lucky.” With multi-layer meanings to her piece, Hubbard said it was actually Ballarat’s rich history that inspired her work. She said it was the Ballarat goldfields and the idea of what horses might have gone through during those years that gave her a concept to work with. But that wasn’t the only source of ideals portrayed in the piece – Hubbard also explored the effect training had on horses. “The horse stands in a way that portrays (how) the human exhorts the way of training,” she said. “The horse is edging like it wants to move, which is impossible, and the furniture acts in lots of ways. The chair, for example, is like the horse’s ribs, which are being ripped out.” It was these multiple meanings that also had the curator of the Post Office Gallery, Shelley Hinton, impressed with the work. “The work challenges us ethically and culturally, in a way that pleads for analysis, as we do in our complex daily lives,” she said. Lou Hubbard's 'Dead Still Standing' won the was awarded the prestigious $20,000 Guirguis New Art Prize in 2015. The Federation University Guirguis New Art Prize was a national biennial and aquisitive contemporary art prize. The $20,000 biennial acquisitive prize was sponsored by Ballarat surgeon Mark Guirguis, administered by Federation University Australia and presented in partnership with the Art Gallery of Ballarat.The genesis of the prize was to raise the profile and encourage the Art School of what was then Ballarat University. lou hubbard, guirguis, guirguis new art prize, sculpture, horse, animal, installation artwork

16 issues of the, "Tramway Topics" - "The Official Bulletin of The Melbourne & Metropolitan Tramways Board", issues 50, 51, 53 to 61, issued between August 1947 and October 1948. All printed on cream coloured paper. Headings of significance are listed below. Common items were; Retiring and Death Gratuities, Appointments and Promotions, long service records. 918.1 - 50 - August 1947 - 4 pages - Comment from London, Scalers in Sydney, Brisbane Services, PAYE to go, Newcastle wants to own the trams, Diesels in favour, Fares in London and Melbourne, Something like a deficit, a remarkable record (substations), Work of Testing Department, Accidents are Expensive, and Transport Operations Indicted (National City Lines - USA) 918.2 - 51 - Sept. 1947 - 4 pages - Our SW6 tram, Transport in the US, Conductresses again, How bus costs have risen, Footscray Extensions, Of Course you are good (drivers and driving), How Fares Go, 40-Hour week. 918.3 - 53 - November 1947 - 4 pages - No increase in fares, an unusually interesting tram (Glasgow), alcohol and driving do not mix, pedestrian crossing case, how wages have increased, Russia prefers trams, Sydney's "Honesty" joke, Higher Fares wanted, Tramcars as hearses, an editor on Trolley buses, buses lead - but at a cost (Leicester), the Non paying passenger (Sydney) 918.4 - 54 - December 1947 - 4 pages - Christmas 1947 (Chairman's notes on the future), New Stockholm tram, according to use and wont - Birmingham, Trams in the USA, Board re-appointed, Buses few, so coaches are hired (London), transport from Footscray, "Philadelphians must have the best" - so they are given trams!, The Merri Creek Bridge and appreciations. 918.5 - 55 - March 1948 - 4 pages - That 4/- doubts arising over the 5-day week, Buses carried pick-a-back, Sydney to lose L500,000 this year, Trolleybuses, Rapid transit with PCC trams, another compliment (rosters in Perth), the bill for it all (Melbourne tram strike), an Extraordinary award (Washington DC), Prison tram's last load (Sydney), Douglas horse trams, Lord Ashfield, Glasgow's all night buses. 918.6 -56 - April 1948 - 4 pages - The Board's ambassadors (MMTB Conductors), Brisbane's bus routes, Another deficit in sight (Liverpool UK), Poor Paris, The resilient wheel, the 5-day week rosters, a subway and its costs (Detroit), PCC's in Belgium, South London Trams. 918.7 -57 -May 1948 - 4 pages - Spread of Hours Payment - 5 day week, weak breaks, Buses multiply - losses expand (Manchester UK), Static Electricity, L750,000 deficit in Sydney, praise for conductresses, no purchase by Newcastle, a loss at Adelaide, Transport in Switzerland, Denmark's giant bus, new trams for Glasgow, Grants for sports, single deckers out of favour (UK buses), Transport by Water (London). 918.8 - 58 - June 1948 - 8 pages - Stirring up strife (Melb.) No profit - no sharing (Kansas City), Just why - prices and fares in the US, MMTB staff needs from 5 day week, Section fares in the US, trams at L5,500 each (Sheffield), The unfinished dance (Perth and Hay St.), Thanks from Bristol, Interest in Melbourne trams (letters to the Board), Adelaide's Deficit, Fares up in Sydney and Adelaide, Moscow transport, No trolleybuses thankyou in Belgium, thanks to the Traffic staff, the Late Inspector Boardman, 24,000 irregularities (passengers), Sth London trams, Melbourne's trams amazing, Winnipeg's transport Growth and Standing passengers - London. 918.9 - 59 - July 1948 - 4 pages - The Red Light - RACV and red lights on trams, A request from Argentina,, where our SW6's are, the last 5c fare (New York), Work in the Fog, Traffic headaches in the US, Brisbane's Streamlined tram, Safety glass, Now for La Trobe St. The Tramways Band (South St.), Transport Losses in Sydney. 918.10 - 60 - August 1948 - 4 pages - from Pretoria (Comments on Melbourne), Buses with sliding Doors (OPS1), PCC trams, trams of the future (Glasgow), new trams in Rome, Clearing up the Parking Problem (Sacramento), Fantastic figures - world tram car figures - anti tram, Trainer Drivers, the railway trams and disaster to Liverpool trams, Monte Video trams purchased. 918.11 - 61 - September 1948 - 4 pages - The Year's Work (Melbourne), How Absurd (transport management), items from Britain, Tramway Band News, Food from Melbourne (to Scotland floods), London's Extraordinary traffic, New trams for The Hague, who are the road hogs, the La Trobe St. extension, out clothing factory, Preston Workshops, Toil on the tracks, how the money comes in (fares distribution). 918.12 - 62 - October 1948 - 4 pages - Melbourne's tram fares, Bourke St., Sydney's Street Transport, Scientist or Baker (London), Trolleybuses out of favour, London's poor bus fleet, tram and bus fares, The band at Wattle Park, Madras tramway deal, 121 decide for 6000 (Sydney Sunday trams), Preston workshops, A Engineer's tribute, Was the Street Quiz on trams faked? (The Sun). 918.3 - No. 31 - September 1945 - Year in review - trams more reliable than buses, loss on buses to munitions and Fisherman's bend, ticket checking, Hawthorn clothing factory SW6 trams construction, news from cities in Europe, sub-stations. 918.14 - 64 - September 1949 - higher operating expenses and revenue, school children behaviour, headway recording system - communication issues, golf at Wattle Park, Mr Bell lives in Riversdale Rd. 918.15 - 67 - December 1949 - Record Payment to Consolidated Revenue, payment to MFB etc, flat fares, Latrobe St extension - delayed, fare concessions - who pays, 918.16 - 68 - January 1950 - Bourke St conversion - Risson looking for an early start, fitting of radios to MMTB vehicles, Resilient wheels 918.4 - on top edge in pencil is "Mr Russell", and 918.10 ditto.trams, tramways, mmtb, melbourne, tramways

Australia's first telephone exchange was opened in Melbourne in August 1880. It was operated by the Melbourne Telephone Exchange Company. Owned by W. H. Masters and T. T. Draper, the Manager of the Company was H. Byron Moore. This was only two years after the world's first exchange in the United States, and just four years after Bell first spoke on a telephone. The exchange was located in the old Stock Exchange building at 367 Collins Street, a site now occupied by the Commonwealth Bank. In 1884, the operations of the Company, by then known as the Victorian Telephone Exchange Company, had grown considerably and were transferred to Wills Street, Melbourne. Private ownership of this company continued until 1887 when it was bought out by the Victorian Colonial Government. Other colonial governments followed this example. By 1910, the growth in telephone services made additional accommodation necessary. This could not be provided in the existing building in Wills Street and arrangements were made for a new exchange in Lonsdale Street. Alexander Graham Bell visited Australia in 1910 to advise the Federal Government's Postal Commission. Telephone exchanges were established in Adelaide with (48 subscribers), Hobart (10 subscribers) and Launceston (35 subscribers). The first exchange in Western Australia was established in 1887 and located in a small three-room cottage in Wellington Street, Perth with 17 subscribers. The year 1888 marked the opening of the Fremantle exchange in a small room at the rear of the Town Hall. There were nine subscribers. Australia's first automatic exchange was installed in the GPO in Sydney, in 1911, for internal use. But the first automatic exchange for public use was opened at Geelong in Victoria in the next year July 1912 with 800 subscribers. Melbourne's first automatic exchange was opened in the suburb of Brighton in 1914; the first public automatic exchange in NSW began operating at Newtown, Sydney in 1915; and Queensland's first was installed at South Brisbane in 1925. 1929 saw the opening of Tasmania's first automatic exchange in Hobart. an automatic telephone service. In June 1977, the manual telephone exchange at Swansea was replaced with an automatic service and made Tasmania the first State in Australia to have a fully automatic network. The half-century following Federation saw the growth of the automatic operation; a great extension of trunk line services; The automatic telephone contributed greatly to the early popularity of telephones in Australia. It was a quicker and more convenient way of communicating with another person on the same exchange — instead of having to go through tedious processes with the operator. From its introduction, the number of automatic telephones in operation grew to a remarkable extent. In 1886, the first trunk link of 16 km was connected to the exchanges of Adelaide and Port Adelaide in South Australia. Then, in 1907, the first inter-capital telephone trunk line was opened between Sydney and Melbourne. It was followed by a line between Melbourne and Adelaide in 1914. Sydney and Brisbane were linked in 1923, and Perth and Adelaide in 1930. In 1930, the first overseas calls from Australia came possible with the introduction of a radiotelephone service to England, and through there to Europe and America. A similar service opened to New Zealand in the same year. Initially, trunk channels linked different manual trunk exchanges. It was necessary for a succession of trunk operators to connect the appropriate channels, one after the other until the connection was made. As trunk traffic grew. the system became increasingly unsuitable. More trunk operators had to be employed and so labour costs increased. It was a tedious and slow way of making a long-distance call, and it was sometimes hard to hear, particularly when several exchanges were linked With technical advances, trunk switching moved from manual operation through a partly automatic phase. Automatic transit switching equipment was used and only a single operator was required to connect a trunk call to a wanted automatic subscriber. Until well beyond the middle of this century, the majority of trunk traffic went through this single telephonist control. In 1953, the number of telephones in use in Australia passed the one million mark. By then, the need for improvement in the automatic exchanges was becoming well recognised. The need was for a telephone switching system which would do a better job more economically than the conventional step-by-step ex-change. This led to the adoption of the Crossbar system as the standard in automatic telephone exchanges in 1960. The introduction of Crossbar switching was a big step forward in the automation of trunk calls. It substituted automatic switching and charging equipment for the originating trunk operator, and improved the quality of the system radically. Before the introduction of the Crossbar system there were often very long delays in obtaining a booked trunk call, and the quality of sound was often very poor. With Crossbar, Subscriber Trunk Dialing (STD) became a reality. A trunk call by STD was as easy to make and almost as fast to connect as a local call.The item was made around the 1940s and used up until the 1970s in manual cord telephone exchanges as a way to time and charge users for trunk calls made over the telecom system of the time. Post Master General dept. - Trunk Call Timer.Inscribed PMG, C. of A, 37. Bell chimes at 3 min increments.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, timer, trunk call, telephone, cord exchange

The SS ‘Excelsior’ was an iron screw steamer, built in Southampton, England, in 1882 and first registered in Melbourne, Victoria, in 1882. Her journey from Southampton, England to Melbourne, Victoria is reported to have taken just 66 days. She would prove to be a very popular vessel on Port Phillip Bay, though her reign may have been relatively short as she was sunk in 1890. She was refloated sometime between 1890 to 1900 as some records state 1890, others at 1900. Gross Tonnage: 350, Net Tonnage: 172, Length: 186 ft 6 in (56.85 m), Beam: 21 ft 1 in (6.43 m), Depth: 10 ft 7 in (3.23 m), First Owner: Huddart Parker & Co. A Timeline of SS Excelsior’s life: 15 Jan 1883 → the SS ‘Excelsior’ commenced the Melbourne to Geelong run. 27 Jan 1940 21 Jan 1890 →the SS ‘Flora’ ran aground whilst heading out to Hobart, Tasmania, on a tight bend in the Yarra River at Spotswood. Whilst stuck fast in the mud, the SS ‘Excelsior’ ran into her stern – thankfully the damage to both vessels was only minor. 9 Jan 1897 → The SS ‘Excelsior’ sank the Ketch ‘Lu Lu’ on the south bank of the Hopetoun Channel near Geelong, Victoria. Blame is shared between Captains of both vessels: At the meeting of the Marine Board the report of the nautical expert committee, relative to the collision between the steamer Excelsior and ketch Lulu, was considered. The committee recommended that the matter should be remitted to the Marine Court, and a charge of misconduct preferred against Gilbert Moore, master of the Excelsior. Mr Wilson, one of the committee, dissented. He thought in view of the nature of the evidence charges should be preferred against both masters. Mr Dickens moved an amendment to the latter effect, but it was rejected, and the report adopted. 11 Jul 1899 → The SS ‘Edina’ sinks the SS ‘Excelsior’ during thick fog: Shortly after, half-past 11 o’clock this, morning a serious collision took place in Port Phillip Bay between the steamers Edina and the Excelsior. The Edina was on her way to Geelong, to which place she makes a trip every forenoon in the course of her trade with that port, and the Excelsior was coming up the bay to Melbourne. The weather was calm but thick, and a fog hung over the water. The Edina struck the Excelsior on the port side amidships, and she sank within a quarter of an hour. Both vessels carried a large number of passengers, and large cargoes, but there was very little excitement. The whole thing happened so suddenly that until the crash came those on board the steamers were not aware that any other boat was near at all. When both vessels began to draw away after the collision it was at once seen that the Excelsior was the most seriously injured of the two, and she at once began to settle down rapidly. Some of the Excelsior’s passengers were dragged on board the Edina at once, while the remainder, including the crew, were rescued by boats. As far as can be ascertained no one was drowned, but some 20 or 25 were injured. Dr. Wilson, headmaster of the Brighton Presbyterian Ladies’ College, was perhaps the most seriously injured of the Excelsior’s passengers. He was looking down the companion ladder ‘when the collision took place, and he was thrown violently below, sustaining a compound fracture of the right fore-arm. When attended to it was found, that he suffered severely from the shook of his fall and was rather in a bad way. A lady passenger by the Excelsior had her side lacerated, while another had her ankle sprained. The remainder of the others injured had either small cuts or were suffering from shock. The Excelsior went down stern first, and now lies in about five fathoms of water, with her bow above the surface. The Edina is almost uninjured, but she will be immediately placed in dock, as she is making water slightly. c 1900 → The SS ‘Excelsior’ was raised from her watery grave where a large cut can be seen on the SS Excelsior in dock and reveals the breach made and damage done by the Edina. c 1939 → Records regarding the SS ‘Excelsior’ are elusive until c 1939, when she was commissioned to relocate to Brisbane, Queensland, during the Second World War: The Excelsior came to Brisbane on a voyage north during the 1939-45 War. Being unseaworthy she could not be taken further and was used here as a workshop. After the war, she was discarded on Bishop Island. c 1946 → Sometime after WWII was over, the SS ‘Excelsior’ joined many a ship in the graveyard at Bishop Island in Queensland. The island has been the site for the disposal of many ships. Ships recorded as being discarded here include the Groper, Adonis, Roderick Dhu, Excelsior, Yosemite, Maida, Civility, Captain Cook, Bingera, St. Kilda, Lucinda, Moreton, Miner, Schnapper, Lochiel, Queensland, Victoria, and BadgerThe SS Excelsior is a well known ship from the history of Geelong. Its collision with the equally well known SS Edina is of particular interest to Geelong. She was a famous ship in the reckon of Port Phillip despite her short life stand, especially when compared to the SS Edina. Colour painting of ship departingship collision, ship wreck, ss excelsior, ss edina, bishop island

Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015

Ann Austin of Melbourne was the name of a Melbourne millinery house. Thelma Prentice was one of the partners in the house, and the chief designer/milliner. Very little information about the millinery house and the milliner are available online but there is an interesting article, published in the Brisbane Courier Mail on 8 October 1949 which describes the influence of French style on fashion and design in Australia. The article by Lucy Gough recounts the views of Thelma Prentice who had just returned from the Paris fashion shows. "Australian millinery toes line with Paris From LUCY GOUGH LONDON, October 7 (Special) Australian hats can compare very favourably with those designed in Paris, and are considerably cheaper, says Miss Thelma Prentice, partner in a well-known Melbourne millinery firm, who has just completed six months' visit to England and the Continent. An ordinary hat, Miss Prentice said, would cost at least £15 from any of the top Paris houses. Australia could achieve the same effect for a lot less money. Miss Prentice went to all the Important dress shows as well as the millinery houses in Paris, because she believes that millinery is an accessory to fashion and to obtain the best idea of new trends hats must be shown with frocks to get a complete follow-through and tie-up between the two. At their packed shows, with standing room only, Path and Dior were selling hats they designed, faster than many well known Paris millinery houses, Fath's favourite line was the becoming 'wing treatment,' which he achieved by a profile flattering side swing of material jutting out almost 10 inches from the face. This was completely different to the side drape already seen in Australia. Dior, as a direct contrast, was specialising in skull hats, which almost followed the hair line, to show very little hair at the back of the head. His cocktail hats were heavily sequinned and beaded. Every model was designed exclusively for short hair, and Miss Prentice, whose own hair is beautifully short cut by a Paris hairdresser, said that French mannequins' hair was so abbreviated at the back it was almost a semi-shingle. Hats generally she found were plain, with sharply angled self trimming, and black one of the most popular colours." The hat was donated by Kathleen Gervasoni, a resident of Kew, and during the 1970s a Mayoress of the former City of Kew. The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.High crowned hat made of burgundy felt with decorative pink jersey turban folds attached to the side by clusters of pink beads. The hat was designed by Thelma Prentice of the ' Austin of Melbourne' millinery house. Label, inside centre crown, woven in black on white polyester: *ann austin / OF MELBOURNEmilliners, hats, ann austin of melbourne, thelma prentice, australian fashion - 1960s, kathleen gervasoni

Thank-you card given to Australian Nursing Federation (Victorian Branch) staff member Catherine Hutchings by staff at the Bundaberg Branch of the Queensland Nurses Union. In 1993, Victorian Branch staff travelled throughout Queensland, Western Australia and the Northern Territory for a series of meetings on recent events impacting nurses' conditions in Victoria. The meetings were strategically held ahead of the 1993 Federal election to discourage the election of a Coalition government. The election of the Coalition government in Victoria in 1992 had seen the introduction of the Employee Relations Act, which saw the end of the state award system in Victoria. This gave employers greater powers to establish wages and conditions and less power to the Industrial Relations Commission, foreshadowing what would later occur at a Federal level. An article in the Victorian Branch newsletter 'On the Record' from April 1993 describes the 'tour'. Entitled 'Vic. Nurses Spreading the Word in Queensland, Western Australia and the Northern Territory', it explains: "Catherine Huntchin[g]s and Elizabeth Hulme recently spent a week in Queensland informing nurses about the effect of a Liberal Government on nurses. As well, Tracy Austin visited WA to talk to nurses there about life under Kenneyt [sic]. Catherine and Liz held a total of 23 meetings from Cairns to Brisbane, as well as giving media interviews. It was well worth the effort and certainly there was much support given to nurses in Victoria. Perhaps the most interesting issue was that many nurses did not realise that they may find themselves in the same situation if we have a change in Federal Government. In February, Catherine went to the NT to talk to nurses in Darwin, Alice Springs and Katherine and despite some minor hiccoughs (the Health Department banned all the meetings so alternative venues had to be found) the turnout was gratifying - you have to be dedicated to attend a meeting held in a carpark in 32 C heat! Catherine says that the reception she received in both QLD and the NT was superb. "Everyone went out of their way to make us feel very welcome, and to shower us with sympathy over the situation. More important, is the fact that the information was distributed so no matter how the votes go on March 13 [1993, federal election] - they will be informed votes." she said. Catherine, Liz and Tracy extend sincere thanks to all interstate nurses who made their visits a success."Typed card given with flower bouquet. Printed on one side with personalised, typed message 'DEAR CATHERINE, UNITED WE STAND DEVIDED [sic] WE BEG THANKS FOR SPEAKING UP FOR US. FROM B'BERG [Bundaberg] BRANCH Q.N.U. [Queensland Nurses Union]'.nursing, nurses, unionism, solidarity, victoria, queensland, bundaberg, campaigning, 1993 federal election, 1992 victorian election, australian nursing federation, trade unions, politics, queensland nurses union, qnu, anf

Alice Laidlaw Victorian Harness Racing Hall of Fame 2019 Alice McCulloch was born in 1894 at Deniliquin, NSW, and grew up on a huge 56,000 acre property at Navarre, “North Woodlands”, where she learnt to ride at a young age. She soon learnt to jump and would jump the farm fences and only went through gates if she was shifting stock. In 1915 Alice travelled to Egypt as a Red Cross volunteer to nurse soldiers injured in the Gallipoli campaign. The young Alice met and married Adam Alexander (Sandy) Laidlaw of Hamilton and lived at “The Hill: in Ararat. Their son Colin, a successful Ararat trainer /driver, was born on 31st March 1923. One of Australia’s most respected and accomplished female riders, Alice excelled at educating, training, riding, driving, hunting and jumping. Alice rode in the Melbourne, Sydney, Brisbane, Adelaide and Tasmania Royal Shows as well as almost every country show in between. She would win the Champion Hack with a horse and then turn around and win the High Jump with the very same horse. Her horse Look Out held the Australian record for a high jump of 7 ft 10 ¼ in at Tenterfield, NSW. She also rode in England. Alice also trained and rode/drove trotters, ridden or in a sulky. She competed and won against the men. In 1929 she won several races with Bazil Bells at country tracks, but authorities refused to grant women licences to drive at the metropolitan track at Richmond so she had to engage men drivers. She won rces against the men at Stawell and Ballarat tracks. Among harness horses that she owned, trained and rode or drove were Mountain Derby, Dane Grey, Wonga Grattan, Plain Grattan, Miss Keewong, and Wong Derby the dam of the Ararat and Mildura Cup winner and later sire, Efficiency. She also trained gallopers, and rode them in races against the men, with a lot of success. Her father owned the 1917 Caulfield Cup winner Lieutenant Bill. Alice Laidlaw died of a heart attack in Ararat in 1947 several weeks after an accident with one of her horses at the Korumburra Show. Her 54 horses were then sold. After she died, the Alice Laidlaw Memorial Trophy for lady riders over 18 at the Royal Melbourne Show was commenced in her honour. This continues.Black and yellow vertical stripes, red sleeves

The album tells the story of ports visited by Allan Charles Quinn during his service on board the M/S "Mongabarra". He signed on in San Francisco on December 1, 1949. Note this trip overlapped with the Album (00278) which documents the next trip Quinn made to Africa out of Gothenburg. The album preserves a 1950s perspective of a Merchant Seaman and his experience of the respective Ports at that time. The Collection is especially useful when viewed along with contemporary Quinn family correspondence.Album with metal Metal binder rings at spine and beige fabric cover with gouache printed colour design featuring scandinavian buildings. The album contains 25 pages of b/w mounted photographs. Some are missing. The cover is illustrated with colour screenprinted pictures of a white tower on the left and a brown Barn-like building on the right. There are stylised canoe boats containing rowers in the foreground.. On the inside front cover is a handwritten itinerary of the places visited.On front cover possible designer printed signature in black: "Grane"; On inside front cover on adhered sheet of paper in aqua ink lists intinerary/ index of 20 Ports visited: Title (see above) / "Signed on in San Francisco December 1st 1949 / " then a header line for 4 columns: " PORT COUNTRY ARRIVED DEPARTED / 1. San Francisco U.S.A 10-10-49 4-12-49 / ... / 10. ADELAIDE ... 11-4-50 19-4-50 / .../ 20. HALDEN NORWAY 23-7 - 50 25-7-50" ; Most of the photographs in the Album also annotated and dated ; inside back cover has an embossed letter R.album, photograph, ms mongbarra, san francisco, dunkirk, voyages, allan quinn, barbara quinn, seafaring life, ww2, seafarer, melbourne, sydney, brisbane, san pedro, newcastle, adelaide, port pirie, port lincoln, cape town, las palmas, australia, south africa, canary islands, usa, united states, france, antwerp, belgium, hull, england, hamburg, germany, copenhagen, denmark, gothenburg, norway, sweden, halden, malmö

Yields information about the preparations undertaken by the Ballarat Fire Brigade to form a welcoming arch for a visiting Governor General..Digital image from the Wal Jack Ballarat Album of Ballarat No. 20 passing under the two LaFrance fire brigade ladders forming an arch outside the Ballarat City Fire station on 8/3/1955 to greet the Governor General Sir William Slim, Sturt and Raglan Streets. Wal's album notes say "No. 20 passing under 2-100' extension ladders as an arch to welcome Sir William Slim, Governor General. Sturt and Raglan St 8-3-1955." See image i2 for rear of photograph. See image i3 for hi res scan of print. See image i4 for hi res scan of negative\ Neville Britton of the BTM advised 2/5/2020: Seven LaFrance 100' ladders built by the American LaFrance Company, of Elmira, New York arrived in Australia in 1942 as part of the WW2 lend lease program. One each to Perth, Brisbane and Adelaide. Four initially to the MFB but within a short period of time went to the CFA. One each to Geelong City FS, Ballarat City FS and Bendigo FS. The fourth was a stand in and was located at the Ballarat FS when not required. Thus the two ladders in the photo at the Ballarat City FS. I was a volunteer at Ballarat City FB from 1967 and commenced my career employment there in 1970. The two LaFrance ladders were still in Ballarat at that time. In the mid 70's the 'spare' was allocated to the Dandenong FS. They were retired in the 1980's. The four Victorian ladders still survive. Ex Geelong City is at the Fire Services Museum Victoria. They have a second one that was acquired by a private collector. It was neglected and returned to the FSMV in poor condition. Ex Ballarat City was driven to Sydney and remains at the Museum of Fire at Penrith. The fourth one was acquired by a private collector and stored in a shed in North Geelong and never moved. He recently died and it may have been sold. They had a V12 petrol engine with all ignition parts duplicated. So two Distributors, two ignition coils and two spark plugs per cylinder. Splash feed engine lubrication.On rear in ink. Top right hand corner "T175" within the Wal Jack stamp. "SEC Ballarat No. 20 passing under the two LaFrance yank extension ladders ( to greet the Governor General Sir William Slim) Sturt and Raglan Streets. and the date "8 Mar 1955"trams, tramways, sturt st, governors, fire station, ceremonies, tram 20

BHS CollectionJohn Brown Fashion News Letter Vol 1, No 2.: A paper newsletter on a white back ground printed in black and tan colour box at the top, 20 x 5.2cm with fashion repeated three times filling the area on the right side. A stylized figure appears on the left hand side with its left leg pointed upwards. Underneath is Vol 1, No.2, Published by John Brown Industries Ltd. 110 Trennery Crescent Abbotsford, Vic. 3067. April 1968, (underlined). Page 1. The article is headed *Admiral Club Afloat* which is a new trade name for knit shirts, that has 300 colours and style combinations. Tricel is a new fibre introduced for the first time in Australia. On the right hand side is a black and white photo of two men wearing Tetoron and Polycott in a contemporary design wearing Bermuda shorts standing on a boat. On the left of the photo is a girl in a bikini top. On page 2 is a report on the increase on imports of knitted garments against local production. Also an article on quality control in Bendigo and a photo showing Mr Frank Harris viewing a fabric through an industrial magnifying glass. Page 3 shows knitwear from *The Admiral Club Range* Second item on page 2 is of The successful Kyneton Mill being established in 1921 bringing employment from the extended district. A photo of an original employee Mr Jim Roberts is at the bottom. Last page is an article top left side is The Welmar Men's Dress Shirt proved very popular and sold out before Christmas. Under that is a photo of the busy pressing room in Bendigo. Bottom left : *Sales Network Expanded* an article on sales covering Brisbane and a new office in Townsville. Top right is an article about Anne Hine an employee of John Brown, runner up of the Miss Victoria Quest enjoying herself in Queensland on the Gold Coast which was part of her prize. A photo of Anne with a dolphin is included. Other topics include *Ten pin Bowling trophy to Victoria* and New President announced*, Mrs Molly Lapsley Retires. Box 116AAssociated World Public Relations Pty Ltd. Printed by Aldine Press.bendigo, industry, john brown knitting mills, john brown industries. mr frank harris. mr jim roberts. michael robinson. welmar plant bendigo. norma gardner. mrs molly lapsley

Wooden pulley wheel section from the wreck “Newfield”. The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1889 by Alexander Stephen and Sons. It was owned by the Newfield Ship Company in 1890 and later that year It was registered in Liverpool to owners Brownells and Co. The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt, the main export product of Sharpness. At about 9pm on 28th August 1892, in heavy weather, Captain Scott sighted, between heavy squalls, the Cape Otway light on the mainland of Victoria but, due to a navigational error (the ship’s chronometers were wrong), he assumed it to be the Cape Wickham light on King Island, some 40 miles south. He altered his course to the north, expecting to enter Bass Strait. The ship was now heading straight for the south west Victorian coast and at about 1:30am ran aground on a reef about 100 yards from shore and one mile east of Curdie’s Inlet, Peterborough. The ship struck heavily three times before grounding on an inner shoal with 6 feet of water in the holds. Rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The Port Campbell rocket crew arrived and fired four rocket lines, none of which connected with the ship. A local man, Peter Carmody, volunteered to swim one mile to the ship with a line to guide the fourth and final lifeboat safely to shore. Seventeen men survived the shipwreck but the captain and eight of his crew perished. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one man style of navigation" and that the Captain had not heeded the advice of his crew. According to Jack Loney ‘… when the drama was over . . the Newfield was deserted except for the Captain’s dog and two pigs.’ Flagstaff Hill Maritime Museum has several artefacts that have been salvaged from the wreck. See also other items in the Flagstaff Hill Newfield Collection.The report from SHP documented the following in regards to the Newfield collection: Flagstaff Hill’s collection of artefacts from the Newfield is of historical and archaeological significance at a State level, because of its association with the shipwreck, which is on the Victorian Heritage Register. The collection is significant because of its relationship between the objects. The Newfield collection is archaeologically significant as it is the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 (Living with natural processes). The collection is also historically significant for its association with the shipwreck. The Newfield collection meets the following criteria for assessment: Criteria A: Importance to the course, or pattern, of Victoria’s cultural history Criteria B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history Criteria C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history This item is an oval-shaped brown and orange wooden shell from a ship’s pulley. The original wooden material is now petrified but the lighter coloured concentric rings of the wood's grain are still visible. A metal sheave or drum is fitted into the centre hole and some of the edge of its sheave’s collar has corroded and broken away. The collar has three holes of equal size that are evenly spaced around it. The bearing ring is now detached but still connected to the pulley with a string on which a label is attached. Most of the six cylindrical metal roller bearings are sand encrusted but some are still visible. Recovered from the wreck of the ship NEWFIELD.The pulley has a string through it that attaches it to the bearing. The label on the string bears the handwritten words “PULLEY WHEEL / NEWFIELD / PETER ROLAND”.block, flagstaff hill, maritime museum, shipwreck coast, warrnambool, peter carmody, carmody, newfield, shipwreck, pulley, wheel, pulley block, sheave, drum, peterborough, south west victoria, rocket, rocket crew, shipwreck artefact, flagstaff hil maritime museum

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 photograph shows the three-masted iron and steel bark "Newfield" sailing in open seas. It event would have been between 1889-1892 during the ship's working life. ABOUT THE NEWFIELD The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1889 by Alexander Stephen and Sons. It was owned by the Newfield Ship Company in 1890 and later that year It was registered in Liverpool to owners Brownells and Co. The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt, the main export product of Sharpness. At about 9pm on 28th August 1892, in heavy weather, Captain Scott sighted, between heavy squalls, the Cape Otway light on the mainland of Victoria but, due to a navigational error (the ship’s chronometers were wrong), he assumed it to be the Cape Wickham light on King Island, some 40 miles south. He altered his course to the north, expecting to enter Bass Strait. The ship was now heading straight for the south west Victorian coast and at about 1:30am ran aground on a reef about 100 yards from shore and one mile east of Curdie’s Inlet, Peterborough. The ship struck heavily three times before grounding on an inner shoal with 6 feet of water in the holds. Rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The Port Campbell rocket crew arrived and fired four rocket lines, none of which connected with the ship. A local man, Peter Carmody, volunteered to swim one mile to the ship with a line to guide the fourth and final lifeboat safely to shore. Seventeen men survived the shipwreck but the captain and eight of his crew perished. One of the men, apprentice William McLeod, was rescued by local woman Margaret E. MacKenzie. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one man style of navigation" and that the Captain had not heeded the advice of his crew. According to Jack Loney ‘… when the drama was over . . the Newfield was deserted except for the Captain’s dog and two pigs.’ Flagstaff Hill Maritime Museum has several artefacts that have been salvaged from the wreck. The report from SHP documented the following in regards to the Newfield collection: Flagstaff Hill’s collection of artefacts from the Newfield is of historical and archaeological significance at a State level, because of its association with the shipwreck, which is on the Victorian Heritage Register. The collection is significant because of its relationship between the objects. The Newfield collection is archaeologically significant as it is the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 (Living with natural processes). The collection is also historically significant for its association with the shipwreck. Black and white photograph of the three-masted sailing ship “Newfield” in the open sea, sails unfurled. The ship was built in 1859 by Alexander Stephen and Sons Limited of Dundee, Scotland. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, barque newfield, photograph, 1880s sailing ship