Photograph taken in the Celia Little Room at Mission to Seafarers Melbourne. The Celia Little Room was named in honour of the aunt of one of the serving (and resident) chaplains. The room is a multi-function room, being used at times for banquets or, as the photograph shows, for relaxation, by visiting seafarers. The magazine read by the man on the right is the International version of the Life magazine published dated from 24 November 1958, with actress Kim Novak holding a black cat on cover. This photograph was published in the Port of Melbourne Quarterly (July-September 1959) held in the Mission's archives. It was probably donated by the trust to Padre Oliver.Photograph displays the way in which the Celia Little Room, and by extension the Mission to Seafarers, was used by those who utilised the facility during this period.Black and white photograph of three men sitting in Celia Little Room at Mission to Seafarers. Man on left is in a suit, sitting on the arm of a chair, reading a newspaper. There is a coffee table with flowers separating him from the second man, also sitting reading a newspaper. The third man is seated in an armchair reading a copy of Life International magazine, with an ashtray resting on the arm of the chair.armchairs, reading, newspapers, wainscoting, ashtray, robin kent, life magazine, mission to seafarers, mission to seamen, celia little room, coffee table, bell, moreton bay, flowers, seamen, sailors, memorial plaque

The photograph shows a ship visit. It is historically significant and thought to be one of a series of photographs linked to a publicity campaign circa 1955-1956 promoting the work of the Mission. The campaign partly inspired by the Centenary year of the Mission in Australia (1956) also resulted in the production of a black and white short film "The Flying Angel", featuring and Padre Oliver and the work of the Mission was deposited in 2016 with the Australian Centre for the Moving Image, (ACMI) Federation Square, Melbourne.Padre Frank Oliver, Chaplain to the Mission to Seafarers 1930 - 1960 led the Mission through a period of significant changes through the mid 20th C. This image is one of a series of key images showing the work of the Mission Chaplain in the Post WWII period. Father Frank Oliver wearing uniform including officers cap walking up a gangway and being met by a group of four men. There is a fifth man standing slightly to the left of the photograph.Discolouration on the bottom left and top centre of the photograph.uniform, machinery, ship, crew, gangway, deck, handshake, chains, rope, buoy, pulleys, rivets, padre oliver, frank leslie oliver, mission to seafarers, mission to seamen, seamen's mission, robin kent, kerr bros studio

The "letters to Lillie" show the international nature of the Mission to Seafarers. They are an important display of the handwriting style of the time, revealing courting attempts and give us an insight into life in 1925.Lillie Duncan was a member of the Harbour Lights Guild and this letter forms part of a collection of letters sent to her by different seafarers.Letter addressed to Miss L Duncan, 11 Paxton St, East Malvern, Melbourne, Australia from Howard in four parts: Part 1.1 (0008.1) Envelope Part 1.2 (0008.2) First page of letter Part 1.3 (0008.3) Second page of letter Part 1.4 (0008.4) Third page of letter The envelope is blue grey in colour whilst the pages are creamy yellow in colour. Page 1 of the letter begins with the salutation "My dear Lillie, here comes the promised letter...". Page 2 of the letter begins with "...in her birthday book". Page 3 of the letter concludes with "...yours Joe".The envelope is torn across the top for access to its contents. It has two stamps, a circular one in black ink towards the top left of the envelope reading "Durban, 2, May 21, 5.45AM, 1925", and a rectangular one coloured red and white reading "Union of South Africa, Postage, 2d" on the left-hand side of the circle and the right-hand side circle seems to say the same in South African perhaps. It is obscured by 6 large ink lines covering the top portion of the envelope from left to right. Within the circle is a mans head showing his left side profile. He has a beard and short hair. On the right side of the red and white stamp there is a second ink stamp that is also obscured but seems to be the same ink stamp as the first. letter, joe, handwriting, 1925, lillie duncan, lhlg, durban, lillian duncan, ladies harbour lights guild, mission to seafarers, mission to seamen, seamen's mission, east malvern, my little melbourne girl

The image portrays how the Celia Little room (Celia Little plaque on the wall) was used mid 20th C. and date of similar image (see record 0221) The inclusion of the bell from the 'Moreton Bay' vessel dates the image to post 1957 when the bell was presented to the Mission. Used as a sitting room or lounge area at the Mission to Seafarers Melbourne. The image also shows the style of dress and style of magazine covers of the time. On the table stands the shield for the annual competition by crew of merchant ships presented by Wally Nancarrow, Sydney. (see item 0608)The photograph is significant in that it captures the essence of the Mission to Seafarers mid-20th century. It identifies the main use of the Celia Little room as a reading area. It also helps date and track locations of other objects in the heritage collection. A black and white photograph of two men in the Celia Little room at the Mission to Seafarers Melbourne. The top left of the photograph is a bell fixed to the wall that has a bell pull with a long piece of decorative knot-work attached to the clapper. The room is set up as a lounge area with at table left of the centre against the wall. The table is laden with magazines and papers on top of a tablecloth. A picture frame is sitting on the table and leaning against the wall that has a 'shield' or 'coat of arms' displayed. (see also VC records 221 and 0608) One of the men is standing central in the photograph, in a white jumper holding a magazine and half turned towards the wall.The second man is sitting in a chair in the bottom right side of the photograph and appears to be reading. A few tops of chairs are seen at the very bottom of the photo and on the wall are a plaque to the left, a framed picture to the right of the first man's head and another in the far right top corner. The room appears to be lit from the left.melbourne, bell, men, magazine, chairs, wains coting, papers, mission-to-seafarers, celia-little-room, bell-pull, picture-frame, 1940s, celia little, plaque, shield, soccer, football

Photograph taken in the Celia Little Room at Mission to Seafarers Melbourne. The Celia Little Room was named in honour of the aunt of one of the serving (and resident) chaplains. The room is a multi-function room, being used at times for banquets or, as the photograph shows, for relaxation, by visiting seafarers.The age of the photograph consolidates the history of the Mission to seafarers. The people in the photograph are drinking hot beverages, sitting and chatting in a relaxed environment which is significant to the services provided by the Mission.Black and white photograph of two men and one woman seated in the Celia Little Room at the Mission to Seafarers.The man on the far left is wearing a light coloured sports coat and trousers, holding a cup and saucer. The man in the middle is wearing a dark suit, holding a cup and saucer. The woman is on the right and also seated, wearing a dress. Pin holes have been placed in the top corners of the photograph. Dated between late 1950s and early 1960s."8940" faded stamp on back of photograph.dress, suit, 1950s, 1960s, victorian-seamens-mission, cup-and-saucer, sports-coat, armchairs, seamen's mission, mission to seafarers, seamen, seafarers, sailors, lhlg, flying angel, celia little room, flinders street, melbourne, men, woman, social

Dora Walker was a student of Milverton school, one of the Ladies Schools, a branch of the Ladies Harbour Light's Guild. Amy Dora Walker (known as Dora) of East Malvern married Harold Priestley Simpson of Surrey Hills on 14 February 1928. The bride's maids were Ella Kendall and Molly Walker. The article in the Herald of the day describes the event: "WEDDING AT SEAMEN'S CHAPEL Reception at Hotel Windsor The pretty little chapel at the Sea men's Institute was packed with interested friends this afternoon, when Miss Dora Walker, one of the Mission's most enthusiastic and efficient voluntary helpers, chose it as the setting for her marriage with Mr H. P. Simpson, son of Mr and Mrs J. H. Simpson, of Mornington. A group of her fellow workers decorated the chapel with lovely pink and white gladioli, carnations and roses. The ceremony was performed by the Rev. J. R. Weller, chaplain of the Mission, and the bride was given away by her father, Mr A. W. Walker, of Manning road, East Malvern. She wore a lovely ivory georgette frock, the finely tucked skirt being fashioned with a deep transparent hem of Chantilly lace. Over it fell a beautiful Honiton lace veil mounted on tulle and arranged to give the ef fect of a train. Fragrant white roses composed her bouquet. Two attendants followed her down the aisle — her sister, Miss Molly Walker, and Miss Ella Kendall — both wearing dainty shrimp pink georgette frocks and large crinoline straw hats in the same shade with a dainty edging of tulle. They carried bouquets of pink cactus dahlias nnd delphiniums. Mr Louis Buscombe was best man, and Mr George Thompson grooms man. After the ceremony Mr and Mrs Walker entertained about 50 guests at the Hotel Windsor."A member of the Ladies Harbour Lights Guild, Dora is one of the few ladies who married at the Mission.Sepia toned photograph of bride and attendants in the courtyard of the Mission to Seafarers. The bride's dress is calf length and she is standing with her veil draped in front of her, holding a large bouquet. There is one attendant to the right of the photograph, wearing a layered calf length dress and holding a smaller bouquet. Both are standing in front of one of the columns in the courtyard which has ivy growing over it.Blue ink on rear of photograph: 4 49hat, flowers, veil, wedding, dress, ivy, columns, shoes, dora walker, dora simpson, milverton school, ladies school, lhlg, mrs h.p. simpson, mrs harry simpson, courtyard, amy dora walker, ella kendall, molly walker, reverend j.r. weller, david simpson

The image shows us one of the many dances, or functions, held at the Mission to Seafarers Melbourne, It shows the main hall in its original condition and the way it was used at the time. The dance shown here is an example of the work of the Ladies Harbour Lights Guild, which held fundfraisers and social events at the Mission.This photograph is a reflection of the main hall, in original condition, and its use circa mid-1950s. The photograph is of historical significance as it is a documentation of one of many social events held by the Ladies Harbour Lights Guild at the Mission to SeafarersBlack and white photograph of a dance held in the Mission to Seafarers main hall. The foreground shows A man to the left and a woman to the right dancing together. There is another couple dancing behind them. The background shows two of the archways leading out of the main hall. The floors are the original hardwood floorboards.dance, lhlg, flying angel club, seamen, flinders street

The photograph portrays the main hall of the Mission to Seamen as it was used c.1950.The photograph is documents a moment in history that reflects how the main hall of the Mission to Seamen was used around the 1950s. The photograph also portrays one of many events held by the Ladies Harbour Lights Guild as one of the services provided for visiting seafarers.A black and white photograph inside the Mission to Seafarers Melbourne main hall. In the foreground there are two couples; on the left side of the photograph the couple are facing the left side, a man in a suit, vest and tie and a lady to the right in a mid-length skirt, jumper and short hair. The couple on the right of the photograph are facing each other - the lady has her back to the camera, and the man facing more toward the camera, he is also in a suit and is balding. A couple are standing in the mid ground, central in the photograph; a lady is on the left in a light coloured cardigan, mid length skirt and short dark hair; the man on the right is wearing a dark suit and tie, and a light coloured shirt. There are a number of people in the background that are partly concealed by the couples in the mid-foreground. An archway is visible to the left, that leads to the 'cafeteria', and an arch window can be seen on the right side of the photograph in the background, The hardwood floorboards are visible, as is the wainscote (wood panelling) on the walls in the background. A clock is situated right of centre on the back wall.collar, clock, vest, window, suit, 1950s, main-hall, tie, wainscote, cardigan, jumper, skirt, arch, bald, lhlg, dance, socialising, events, entertainments, mission to seafarers, mission to seamen, seamen mission, flinders street, ladies harbour lights guild, hardwood, floorboards, wood panelling

The Marriage Register lists Harold Priestley Simpson and Amy Dora Walker as the bride and groom, and the wedding date as 14th of February 1928. The photograph uses the personal Harry and Dora, instead of the formal Harold and Amy. In the Register, Amy started signing her name as Dora. before correcting it. The photograph shows that weddings took place at the Chapel during the late 1920's, and the style of weddings at the time. This includes the type of outfits worn, such as the length of the veil and the type of bouquet carried. Dora's Bridesmaids are depicted in 2 other images in the MTSV collection also an image of the chapel decked with flowers for the occasion. The article in the Herald of the day describes the event: "WEDDING AT SEAMEN'S CHAPEL Reception at Hotel Windsor The pretty little chapel at the Sea men's Institute was packed with interested friends this afternoon, when Miss Dora Walker, one of the Mission's most enthusiastic and efficient voluntary helpers, chose it as the setting for her marriage with Mr H. P. Simpson, son of Mr and Mrs J. H. Simpson, of Mornington. A group of her fellow workers decorated the chapel with lovely pink and white gladioli, carnations and roses. The ceremony was performed by the Rev. J. R. Weller, chaplain of the Mission, and the bride was given away by her father, Mr A. W. Walker, of Manning road, East Malvern. She wore a lovely ivory georgette frock, the finely tucked skirt being fashioned with a deep transparent hem of Chantilly lace. Over it fell a beautiful Honiton lace veil mounted on tulle and arranged to give the ef fect of a train. Fragrant white roses composed her bouquet. Two attendants followed her down the aisle — her sister, Miss Molly Walker, and Miss Ella Kendall — both wearing dainty shrimp pink georgette frocks and large crinoline straw hats in the same shade with a dainty edging of tulle. They carried bouquets of pink cactus dahlias nnd delphiniums. Mr Louis Buscombe was best man, and Mr George Thompson grooms man. After the ceremony Mr and Mrs Walker entertained about 50 guests at the Hotel Windsor."The photograph shows St. Peter chapel was being used for weddings in 1928. The Anglican church has been used for weddings since being finished in 1917. The Marriage Register shows that these weddings were legal in the Commonwealth of Australia, and lists Church of England as the denomination for this wedding. Miss Amy Dora Simpson (nee Walker) had a long association with the Mission, first as a young Volunteer with the Ladies Harbour Light Guild circa WW1, and through to her wedding in early 1928 and beyond. Square sepia, glossy photograph of a bride and groom, taken as they leave a building. Guests are throwing rice at the newlywed. The groom is turned towards the camera, while the bride is looking ahead, carrying a bouquet. There is a white border around top, bottom and left edges, the photograph seems to have been cut in half along the right edge.On the reverse: handwritten in blue pen JUST MARRIED!/DORA & HARRY/28/2/28. 618 is stamped in blue ink . (date is incorrect as wedding took place on 14/2/28)bride, wedding, groom, 1928, dora simpson, dora walker, st peter chapel, harry simpson, lhlg, flinders street, harold priestley simpson, valentine's day, amy dora walker, ladies harbour lights guild, mr and mrs a.w. walker, malvern, manning road, reverend j.r weller, molly walker, ella kendall, david simpson

This is one photograph from the Allan Charles Quinn collection. Allan worked on the Goonawarra during 1946 working between Sydney, Melbourne, Palmyro Island, San Francisco, Los Angeles, Panama Canal, Falmouth, Le Havre and Goteborg.The Allan Charles Quinn collection is a collection of photographs and letters that provide a very intimate portrait of life at sea for a young man in the period following World War II.Sepia toned photograph of bow view of Goonawarra including anchor ropes and nets hanging from the side.Black ink on reverse: Bow view of Goonawarra/ in Melbourne/ discharging oil from/ Long Beach/ 13 Jan 1946allan-charles-quinn, goonawarra, sydney, melbourne, palmyro-island, san-francisco, los-angeles, panama-canal, falmouth, le-havre, goteborg

The photograph is part of a series of five, depicting the Ariston in dry docks in Hoboken, New jersey, on the 26th of August, 1947. This photograph shows the propeller screws of the ship.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph showing one of the propeller screws of the Ariston while in dry dock.Handwritten in black ink on the reverse: SCREWS OF ARISTON / 26.8.47 / D (handwritten in pencil). There is also a small blue ink mark in the bottom right hand corner.allan-quinn, photograph, dry-docks, hoboken, new-jersey, propeller-screws, ariston

This photograph is part of series of four, the only colour photographs taken by Allan Quinn while docked in Rio De Janeiro on-board the M/S Fenris. The photographs are mentioned in one of Allan Quinn's leters to his mother (Object 0150).This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.Colour photograph of Copacabana Beach in Rio De Janeiro. The photograph has been mounted on a 7.4x9.8 white card.Date on verso: 25-12-48allan-quinn, colour-photograph, fenris, rio-de-janeiro, copacabana

This photograph is part of series of four, the only colour photographs taken by Allan Quinn while docked in Brazil on-board the M/S Fenris. The photographs are mentioned in one of Allan Quinn's letter to his mother (Object 0150).This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.Colour photograph of the ocean and deck of the M/S Fenris, looking forward to the sea. The photograph is mounted on a 7.4x9.8 white card.Date on verso: 30-12-48allan-quinn, colour-photograph, fenris, coffee

The photograph is part of a series of six, depicting the Fenris in dry docks in at Finn Boda ship yards, in Stockholm, Sweden, between the 4th and the 27th of May, 1948. This photograph shows refinishing being done on one of the ship's propellers.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of one of the propellers from the M/S Fenris in dry dock, in Stockholm.Reverse: STOCKHOLM / 18-5-49 handwritten in blue ink. Below this is an indecipherable mark in pencil.allan-quinn, photograph, fenris, dry-dock, sweden, stockholm, 1949

This photograph is part of series depicting Allan Quinn's travels through San Francisco in 1949. This photograph shows one of the supports of the Golden Gate Bridge.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of one of the supports of the Golden Gate Bridge, in San Francisco, dated 9-11-49.Reverse: 9-11-49 (handwritten in blue ink) / B / K8 (handwritten upside down in pencil).allan-quinn, photograph, san-francisco, golden-gate-bridge, 1949

This photograph is one in a collection known as the Allan Charles Quinn collection. These photographs were taken during his time at sea in the period immediately after World War II. This photograph has a complementary letter that was written by Allan to his mother outlining his first experience of Carnival.As a whole the Allan Charles Quinn collection offers insight into the life of a young man working at sea in the period immediately after World War II. The photographs are complemented by a collection of letters written between Allan and his mother.Black and white photograph of a carnival float taken in Rio de Janeiro. There is a large crowd visible in the foreground and the background. The float is in the centre of the photograph. There is a white fountain on the float with two women dancing. Their dresses are flowing outward as they twirl. Blue ink on reverse: CARNIVAL IN RIO./ 1-3-49allan-quinn, photograph, rio, carnival, floats, dancers, crowd, 1949, merchant navy

This photograph shows a scene from the first time Allan Charles Quinn attended Carnival in Rio. Although having made several trips to South America previously, he had not experienced Carnival before. The photograph is also complemented by a letter written to his mother including a description of Carnival. This photograph was exhibited by the Mission to Seafarers as part of the exhibition "Letters from Abroad" in 2012.The Allan Charles Quinn collection forms a pictorial autobiography of life at sea for a young man in the period immediately following World War II. The collection also includes a series of letters between Allan and his mother, some explaining the photographs and some talking about other experiences or mundane situationsBlack and white photograph of Carnival float in Rio de Janeiro. There is a large crowd visible in the fore and back ground. On the float are two horses standing on their hindlegs with a woman appearing to ride one. There is also another women visible at the rear and a man standing at the back.Blue ink on reverse: CARNIVAL IN RIO/ 1-3-49allan-charles-quinn, south-america, rio, carnival, floats, crowd, horses, letters-from-abroad, brazil, rio de janeiro

The photograph was taken on one of Quinn's early trips to New York, and, with the letters he wrote at this time, records his fascination with American culture. This photograph was exhibited by the Mission to Seafarers as part of the exhibition "Letters from Abroad" in 2012.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.Black and white photograph of the Statue of Liberty in New York. The photograph has been taken standing at the base of the statue, looking upwards.On reverse: STATUE OF LIBERTY / 30.8.47 handwritten in black ink. Below this is an upside down D, and a small blue ink mark in the left hand corner.allan-quinn, statue-of-liberty, new-york, 1947, letters-from-abroad

This photograph is one of a series taken by Allan while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of Allan Quinn standing in the foreground, with the Eiffel Tower in the background. There are people in the midground. There is a narrow white boarder around the image.On reverse: PARIS 6-6-49 handwritten in blue ink. below this is a pencil mark, similar to "ItI"written sideways.allan-quinn, photograph, paris, france, eiffel tower

This photograph is one of a series taken by Allan while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of the Eiffel Tower, from some distance. There is a narrow white boarder around the image.On reverse: PARIS 6-6-49 handwritten in blue ink. below this is a pencil mark, similar to "ItI"written sideways.allan-quinn, photograph, paris, france, eiffel-tower

This photograph is one of a series taken by Allan while travelling through France in mid-1946. There are several letters relating to this journey. This photograph was exhibited by the Mission to Seafarers as part of the exhibition "Letters from Abroad" in 2012.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.Black and white photograph of the Arc de Triomphe in Paris. The Arc is framed by a row of trees on either side, and there are several cars on the road in front of it.On reverse: PARIS 6-6-49 handwritten in blue ink. below this is a pencil mark, similar to "ItI"written sideways.paris, france, letters-from-abroad, allan quinn, arc de triomphe

This photograph is one of a series taken by Allan while travelling through France in mid-1946. It was taken in the medieval city of Rouen, a city heavily damaged by the Allied bombings during the Battle of Normandy in May 1944 and shows a cob house, typical of the period. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.Black and white photograph of a historical building and street scape in Rouen.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is a mark "ItI"in pencil, written sideways.allan-quinn, photograph, rouen, france, ww2, battle of normandy, normandy, cob house, middle ages, medieval

This photograph is one of a series taken by Allan while travelling through France in mid-1949. It shows the Saint-Ouen Abbey Church from Rue d'Amiens- Rouen. Rouen, a medieval city was heavily damaged by Allied bombings during the Battle of Normandy. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph taken on the 5th of June, 1949, of Saint-Ouen church built in the 14th century in Rouen, France. The sign to the right of the foreground reads: ROUEN CENTRE / AMIENS PARIS and probably indicates the photograph was taken from Rue d'Amiens (Amiens Street). The photograph shows the level of demolition of the city during World War II.On reverse: PARIS 6-6-49 handwritten in blue ink. below this is a pencil mark, similar to "ItI".allan-quinn, photograph, rouen, france, normandy, ww2, battle of normandy, 1939-1945, saint ouen abbey, amiens, paris

This photograph is one of a series taken by Allan while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of a narrow laneway in Rouen, France, taken on the 5th of June, 1949. There is a narrow white boarder around the image.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is a mark "ItI"in pencil, written sideways.allan-quinn, photograph, rouen, france

This photograph is one of a series taken by Allan Quinn while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of the port at Rouen, France, taken on the 5th of June, 1949. There is a narrow white boarder around the image.On reverse: PORT OF ROUEN / 5-6-49 handwritten in blue ink. Below this is the mark "ItI"in pencil.allan-quinn, photograph, port-of-rouen, france

This photograph is one of a series taken by Allan while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph, taken on the 5th of June, 1949, shows one of Rouen's main sight: "Le Gros-Horloge" (Great-Clock), a fourteenth-century astronomical clock in central Rouen, Normandy, France. Rouen had been heavily damaged during World War II. Buildings of different styles and ages can be seen, as well as people walking. There is a narrow white boarder around the image.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is the mark "ItI"in pencil.allan-quinn, photograph, rouen, france

This photograph is one of a series taken by Allan Quinn while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of the facade of the City Council in Rouen, France, taken on the 5th of June, 1949. There is a narrow white boarder around the image.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is the mark "ItI" in pencil.allan-quinn, photograph, rouen, france

This photograph is one of a series taken by Allan Quinn while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of the down town area of Rouen, in France, taken on the 5th of June, 1949. A car is shown in the middle of the foreground, with people to the right and a road to the left. There is a narrow white boarder around the image.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is the mark "ItI" in pencil.allan quinn, photograph, rouen, france, normandy, ww2, wwii, world war two, 1939-1945, parapluies, umbrellas, chaussures, shoes, car

This photograph is one of a series taken by Allan Quinn while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of the Cathedral in Rouen, taken on the 5th of June, 1949. It shows three large arched doors, and a few people walking on the street in front of it.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is the mark "ItI" in pencil.allan quinn, photograph, rouen, france, normandy, ww2, wwii, world war two, 1939-1945, cathedral, door

This photograph is one of a series taken by Allan Quinn while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of an inn door, in Rouen, France, taken on the 5th of June, 1949. Two small wooden monks are have carved into either side of the eaves.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is the mark "ItI" written sideways in pencil.allan quinn, photograph, rouen, france, normandy, ww2, wwii, world war two, 1939-1945, half-timbered houses