Showing 961 items
matching rose postcard
-
Ballarat Tramway Museum
Postcard, Rose Stereograph Co, "Bridge Street, Ballarat Vic.", late 1930s
... , with a handwritten note on rear. "Bridge Street, Ballarat Vic." Postcard Rose ...The photo shows tram 12 in Bridge St Ballarat on its way to Mt Pleasant. The photo is of Bridge St looking west from Peel St. In the photo are a butcher, a newsagent, a sign "Join ANA Today", along with two ladies with prams crossing the road. Wal Jack on the rear of the photo notes it is about 1940. Based on the cars in the photo, late 1930s. Item 5463 has a poor quality negative of this postcard. Yields information about Bridge St Ballarat during the late 1930sPostcard black and white, divided back, with a handwritten note on rear.See image 2 for details of the handwritten note by Wal Jack on the rear. tramways, trams, bridge st, tram 12 -
Ballarat Tramway Museum
Postcard, Rose Stereograph Co, "Sturt Street showing Town Hall, Ballarat Vic.", early 1930's
... Postcard - black and white - titled The Rose Series P1712... tramways Sturt St Doveton St Town Hall ESCo Rose Postcards Postcard ...The photo is of Sturt St showing Town Hall Ballarat Vic, looking east towards Grenville St from Doveton St. An ESCo tram is in the far distance, possibly with a Vote No sign along with a few early motor cars. In the view are Stansfield and Smith, F. Gallagher, Morseheads, Myer, The Bucks Head Hotel, and a sign for Rolfes. Note - very similar in location to item 8242, an earlier Rose Series photo with the same number 1712. Two copies held.Yields information about the appearance of Sturt St in the early 1930's, tram operations, buildings and motor vehicles.Postcard - black and white - titled The Rose Series P1712 - A divided back postcard with the rose symbol, publisher details on the left side and that it is a real photograph. trams, tramways, sturt st, doveton st, town hall, esco, rose postcards -
Ballarat Tramway Museum
Postcard, Rose Stereograph Co, Sturt Street, Ballarat Vic.", c1955
... Postcard - black and white - titled The Rose Series P13490.... Sturt Street, Ballarat Vic." Postcard Rose Stereograph Co ...Yields information about the appearance of Sturt St in the early 1950's, tram operations, buildings and motor vehicles.Postcard - black and white - titled The Rose Series P13490, Sturt St Ballarat Vic, looking west up the Sturt St Hill from Grenville St. Tram 30 is in the loop showing destination of City. A divided back postcard with the rose symbol, publisher details on the left side and that it is a real photograph. In the view are Patersons, the Carlyon's Hotel, The Mechanics Institute and the Odeon Theatre, Motor Spares Limited and other buildings through to the Town Hall.trams, tramways, sturt st, grenville st, tram 35 -
Ballarat Tramway Museum
Postcard, Rose Stereograph Co, The Rose Series, P10423 - Bendigo
... , P10423 - Bendigo Postcard Rose Stereograph Co ...Black and White postcard contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. The Rose Series, P10423, pasted into the album, of the Mall Bendigo, looking north, titled "The Mall Bendigo", has an ESCo tram in the photos. c1940's? Has the Shamrock hotel in the background. trams, tramways, bendigo, esco, mall, tram 16, tram 13 -
Ballarat Tramway Museum
Postcard, Rose Stereograph Co, "Panorama of Pall Mall, Bendigo Vic", 1930s
... Printed postcard or copy print of a Rose Series, No. P ...Printed postcard or copy print of a Rose Series, No. P 10399 - "Panorama of Pall Mall, Bendigo Vic" from the City Family Hotel looking over Charing Cross and along Pall Mall with the Town Hall, the Soldiers Memorial Institute now Bendigo Military Museum, and the Shamrock Hotel in the view along with one ESCo tram alongside the Alexandra Fountain. The driver is in position in one of the cabs.Yields information about Bendigo, ESCo trams and Pall Mall.Postcard - black and white, plain back - could be a copy print.tramways, trams, bendigo, esco, pall mall, charing cross -
Ballarat Tramway Museum
Negative - Copy, Rose Stereograph Co, "The Town Hall and Sturt Street Ballarat Vic", - rear
Yields information about Ballarat 's trams in the 1930's and three street scene at the City Centre with the Town Hall in the background. Shows nature of the area with street lights and parked motor vehicles and a sign on the tram regarding prohibition and a vote on the banning of the sale of alcohol.Copy negative of a black and white photograph from Ray Pearson Collection, taken by Dave Macartney in 1975c of the intersection of Sturt and Lydiard St during the late 1920s. From the Rose series P1713, photograph of a postcard. Shows tram with a "Vote No" banner - about a local vote on prohibition in Ballarat? See Reg Item 5117 for another version and 8979 for the actual postcard. Image from the Ray Pearson album used to replace previous image 30/5/2020. Ray Pearson identified this as No. 6 in his album.trams, tramways, sturt st, prohibition, town hall -
Ballarat Tramway Museum
Negative - Copy, Rose Stereograph Co, The Town Hall and Sturt St Ballarat Vic
View of an inbound tram in Sturt St with the Town Hall in the background. From the Rose series P4627, photograph of a postcard. Shows tram with a "Vote No" banner - about a local vote on prohibition in Ballarat? Image replaced by a better scan from the Ray Pearson Album - 30/5/2020. See item 8241 for a print of this image.Demonstrates a "Vote No" message about prohibition in Ballarat using a tram.Copy negative of a black and white photograph from Ray Pearson Collection, taken by Dave Macartney in 1975c.trams, tramways, sturt st, prohibition, town hall -
Ballarat Tramway Museum
Postcard - copy, "Town Hall Sturt Street Ballarat Vic", c2000
... Postcard reproduction - full colour - Rose Stereograph Co.... Stereograph Co. Trams tramways Sturt St Ballarat ESCo Rose Postcards ...Postcard of Sturt St looking East from about Doveton St with Shoppee Square, Snows store and the Town Hall in the view. Card reproduced for Sovereign Hill Gold Mining Township by Rose Stereograph Co. of Glen Waverley c2000. Divided back type with caption, production and the Rose Co. symbol on the rear.Yields information about the appearance of Sturt St following the introduction of electric trams in 1905 and has a strong association with the work of Sovereign Hill and Rose Stereograph Co.Postcard reproduction - full colour - Rose Stereograph Co.trams, tramways, sturt st, ballarat, esco, rose postcards, town hall, shoppee's square, snows -
Ballarat Tramway Museum
Postcard, Rose Stereograph Co, "Moorabool Street Geelong Vic", 1949
... Postcard produced by the Rose Stereograph Co. No P 3748... Parade Ballarat Ballarat goldfields Postcard produced by the Rose ...Postcard produced by the Rose Stereograph Co. No P 3748, showing the scene at the corner of Moorabool and Ryrie Sts Geelong. Has a tram in the far distance along with many motor cars of the late 1940s. In the view are Bright and Hitchcocks, the T&G building, Bank of NSW. The rear of the postcard notes that it is a real photograph. Based on the pencil notation on the rear of item 9059, photo dated 1949.Yields information about the view of Moorabool St at Ryrie St.Black and white Postcard divided back, unused. tramways, trams, geelong, moorabool st, ryrie st -
Ballarat Tramway Museum
Postcard, Rose Stereograph Co, "Moorabool Street Geelong Vic", 1949
... Postcard produced by the Rose Stereograph Co. No P 3747... Parade Ballarat Ballarat goldfields Postcard produced by the Rose ...Postcard produced by the Rose Stereograph Co. No P 3747, showing the scene at the corner of Moorabool and Ryrie Sts Geelong. Has a tram in the far distance turning out of Malop Street along with many motor cars of the late 1940s. In the view are Bright and Hitchcocks, the T&G building, Bank of NSW, Coles, and the Amalgamated store. Also in the view is one of the Bar neon-type traffic lights that Geelong installed. The rear of the postcard notes that it is a real photograph. Yields information about the view of Moorabool St at Ryrie St.Black and white Postcard divided back, unused. On top right hand rear is "1949"tramways, trams, geelong, moorabool st, ryrie st -
Ballarat Tramway Museum
Postcard - copy, "Sturt Street looking E., Ballarat" and "Happy New Years", c2000
... Stereograph Co. Trams tramways Sturt St Ballarat ESCo Rose Postcards ...Yields information about the appearance of Sturt St following the introduction of electric trams in 1905 and has a strong association with the work of Sovereign Hill and Rose Stereograph Co.Postcard reproduction - coloured - of an ESCo tram near the intersection of Armstrong St. and Sturt St. travelling west along the south side of Sturt Street with the Post Office and bank buildings on the corner of Sturt and Lydiard Sts in the view. Photo appears to be taken soon after opening of the electric trams, ESCo tram has destination board on the front dash of the tram. Card reproduced for Sovereign Hill Gold Mining Township by Rose Stereograph Co. of Glen Waverley c2000. Divided back type with caption, production and the Rose Co. symbol on the rear.trams, tramways, sturt st, ballarat, esco, rose postcards -
Buninyong & District Historical Society
Photograph - Photograph of Original Postcard, Derek Leather, North side Warrenheip St. 1900's, looking east towards Mount Buninyong, Copy of original ppostcard made 1970-80
Historic BuildingsB/W Photo of original postcard, North side Warrenheip St. 1900's, looking east towards Mount Buninyong.The Rose Series P 1661 Panorama of Buninyong, Victoriabuninyong, learmonth st., corner shop, tonkins grocer -
Mission to Seafarers Victoria
Postcard, Rose Stereograph, The Huntingfield Concert Hall, Mission to Seamen, Port melbourne, c. 1937
... , Port melbourne Postcard Rose Stereograph ...Black and white postcard showing interior the chairs in front of the stage in the Huntingfield Hall of the Port Melbourne MissionInscription handwritten in blue ink. stage, piano, chairs, events, concerts, lhlg, george v memorial institute, port melbourne, seamen's mission, huntingfield hall, curtains, woodfloor, harry a. norris, art deco -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: Fire in the middle of rain, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: The situation is miserable, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Ballarat Tramway Museum
Postcard - Folder set, Rose Stereograph Co, "Rose Series Picturesque Views of Ballarat Australia", c1940
... Trams tramways Ballarat Rose Postcards Sturt St Bridge St ...Set of 12 views of Ballarat printed with six photos on either side of a folded strip of paper contained within a heavy brown paper folder. Published by the Rose Stereograph Co. of Armadale Vic., titled "Rose Series Picturesque Views of Ballarat Australia". Front cover has address area, stamp position, a drawing of roses and publishers details. 1. "The Town Hall and Sturt St. " with two trams eastbound in Sturt St. The first tram is a Sebastopol type tramcar. (see image 4) 2. "Eureka Memorial" 3. "The Conservatory" 4. "The gardens and Town Hall, Sturt Street" 5. "Panorama of " Sturt St. from Town hall, looking east 6. "Avenue of Honour Arch" 7. "The Flight from Pompeii - The Gardens" statue 8. "Bridge Street" - showing an SEC single truck tram in the street (see image 5) 9. "The Statuary Pavilion, Botanical Gardens" 10. "Sturt St." 11. "Lake Wendouree" 12. "Sturt St." (from Grenville St.) - with two ESCo trams in photograph (see image 6) (See also Reg. Item 2268 for a single postcard using this image.) All have words "Ballarat Vic." after the caption. Images 1 of front cover, 2 and 3 are of the object itself. Date of photos seem to be varied over time from early 1930's through to 1940's given the different motor cars in the photographs. On front cover in pencil in stamp area "G $7-"trams, tramways, ballarat, rose postcards, sturt st, bridge st, gardens, esco -
Eltham District Historical Society Inc
Photograph - Postcard, Geisha Sakae looking into a mirror applying makeup, c.1905 to c.1920s
The text on reverse translates Kikaha toilet department. There is also the printed image of a swallow on the back, which suggests that it was taken by the S. N. Banshiudo Studio in Shiba Park, Tokyo. Geisha Sakae was an extremely popular postcard model shortly after the Russo-Japanese war 1904-05, people used to line up early in the morning whenever a new postcard was released at the postcard shop in Ginza. The beauty of her gait was so widely admired that her walk inspired many of the leading Onnagata (male Kabuki actors in female roles) of the day. She went on to marry Ichikawa Sadanji II, one of the most popular Kabuki actors in Japan, who worked hard to promote new plays and revive long-forgotten classical dramas. [Ref: https://www.flickr.com/photos/blue_ruin_1/8448420741] During the Russo-Japanese War (1904–05), the Japanese government sent postcards of beautiful Japanese women, bijin ehagaki (美人絵葉書), to soldiers to motivate them. Publishers continued to print them well into the 1920s. [Ref: Duits, Kjeld (February 21, 2022). 1910s: Geisha Postcards, OLD PHOTOS of JAPAN. Retrieved on March 31, 2024 (GMT) from https://www.oldphotosjapan.com/photos/883/vintage-geisha-postcards-early-20th-century] See also: Sakae さかえ - Meiji / Taishō Era Geisha https://www.flickr.com/groups/1988804@N22/pool/ The photochrom process Photochroms are not photographs but actual prints, produced using 6 to 15 colors and the lithography printing process. The technique was invented by the Swiss Hans Jakob Schmid during the 1880s. The fascinating aspect of these prints is that they are created from black and white photographs. It required quite some work and talent to create these images. The photographer would usually make notes about the colors in the image he shot. These enabled a painter to create a painting that served as a color guide for the litho stone maker. This artisan would then create multiple exposures of the original black-and-white negative, changing the exposure time, development settings, and using dodge and burn techniques to create the required set of 6 to 15 stones that would each be used to print one specific color. By combining all these colors you get the prints [Ref: https://www.prepressure.com/printing/history/photochrome-prints]This item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, geisha sakae, japanese postcard, postcard -
Eltham District Historical Society Inc
Photograph - Postcard, Geisha Sakae holding an Ichimatsu Doll, c.1905 to c.1920s
The text on reverse translates to Kikaha toilet department. There is also the printed image of a swallow on the back, which suggests that it was taken by the S. N. Banshiudo Studio in Shiba Park, Tokyo. Geisha Sakae was an extremely popular postcard model shortly after the Russo-Japanese war 1904-05, people used to line up early in the morning whenever a new postcard was released at the postcard shop in Ginza. The beauty of her gait was so widely admired that her walk inspired many of the leading Onnagata (male Kabuki actors in female roles) of the day. She went on to marry Ichikawa Sadanji II, one of the most popular Kabuki actors in Japan, who worked hard to promote new plays and revive long-forgotten classical dramas. [Ref: https://www.flickr.com/photos/blue_ruin_1/8448420741] During the Russo-Japanese War (1904–05), the Japanese government sent postcards of beautiful Japanese women, bijin ehagaki (美人絵葉書), to soldiers to motivate them. Publishers continued to print them well into the 1920s. [Ref: Duits, Kjeld (February 21, 2022). 1910s: Geisha Postcards, OLD PHOTOS of JAPAN. Retrieved on March 31, 2024 (GMT) from https://www.oldphotosjapan.com/photos/883/vintage-geisha-postcards-early-20th-century] See also: Sakae さかえ - Meiji / Taishō Era Geisha https://www.flickr.com/groups/1988804@N22/pool/ The photochrom process Photochroms are not photographs but actual prints, produced using 6 to 15 colors and the lithography printing process. The technique was invented by the Swiss Hans Jakob Schmid during the 1880s. The fascinating aspect of these prints is that they are created from black and white photographs. It required quite some work and talent to create these images. The photographer would usually make notes about the colors in the image he shot. These enabled a painter to create a painting that served as a color guide for the litho stone maker. This artisan would then create multiple exposures of the original black-and-white negative, changing the exposure time, development settings, and using dodge and burn techniques to create the required set of 6 to 15 stones that would each be used to print one specific color. By combining all these colors you get the prints [Ref: https://www.prepressure.com/printing/history/photochrome-prints]This item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, geisha sakae, japanese postcard, postcard -
Marysville & District Historical Society
Postcard (Item) - Black and white postcard, Rose Stereograph Company, BUXTON ROAD JUNCTION, BUXTON, VIC, Unknown
... Black and white postcard Rose Stereograph Company ...A digital copy of a black and white postcard of the Buxton Junction at Buxton in Victoria.A digital copy of a black and white postcard of the Buxton Junction at Buxton in Victoria. The Buxton General Store was originally built in the early 1930s by Jack Preece. It also served as the local Post Office, cafe and petrol station. The store had a succession of owners until its closure in around 2018.buxton, victoria, buxton general store, jack preece -
Port Fairy Historical Society Museum and Archives
Postcard, The Rose Series / The Rose Stereographs, Entrance to the Gardens Port Fairy Victoria, 1926
... Entrance to the Gardens Port Fairy Victoria Postcard Postcard ...The Port Fairy Botanical Gardens were formed in 1856 making it one of the earliest gardens in Victoria. The first curator was James Prior, he was paid fifty-two pounds per annum. He was an outstanding curator having been apprenticed to the trade in England at the age of 12, his brother Edward in later years was the Curator of the Koroit Gardens. Prior retired in 1903. During the years of his curatorship Port Fairy was said to have the best gardens outside the city of Melbourne, he was constantly in touch with Baron Von Mueller and later Guilfoyle of the Royal Botanical Gardens of Melbourne. In the early years plants from all over the world were planted here with varying rates of success many of them sent by Baron Von Mueller. In the 1930’ and 40’s the gardens were still very beautiful, and the curator was Roy Manuell. The beautiful iron gates at the entrance were destroyed in the 1946 floods and were replaced in 1989 using some of the material from the original gates. From the 1950’s on the gardens went into a state of decline, much being taken up by the caravan park until in 1986, after a public meeting ‘Friends of the Gardens’ was founded when the entrance section was restored. Black and white Photograph of the main path through the botanical Gardens with the arbour to the left and mature trees and lawn on the rightEntrance to the Gardens Port Fairy Victoriagardens - entrance, path, arbour, trees, griffith street -
Ballarat Tramway Museum
Postcard, John Phillips and Rose Stereograph Co, Bridge St (Looking East), Ballarat, c1905
... St (Looking East), Ballarat Postcard John Phillips and Rose ...Image is an ESCo tram leaving the intersection of Grenville St. and Bridge St. and proceeding east along Bridge St. Photo taken behind junction points. Has the Nicholl & Allan building on the left side of the photo and the Bucks Head Hotel on the right. Numerous people walking around the street. Shows overhead construction in the area. Title in top left-hand corner "Bridge St. (Looking East), Ballarat. On the rear is places for stamp, address and manufacturer's name in a fancy motif "WTP". Photo taken soon after opening, no roof-mounted destination boxes. See item 9010 for a printed version. yields information of Bridge St at Grenville St, c1905B&W print, laser print and scanned images of a coloured postcard lent to the BTM by Mr. Norm DePomeroy, August 1998 and Sovereign Hill reproduction of this card contained within a scrap book. See Notes for various image holdings and history.trams, tramways, esco, sturt st, postcards, bridge st., grenville st -
Port Fairy Historical Society Museum and Archives
Postcard - Post Card, The Rose Series / The Rose Stereographs, The Lovers Walk in the Gardens, Port Fairy
... trees The Rose Series P 1139 The Lovers Walk in the Gardens ...The Port Fairy Botanical Gardens were formed in 1856 making it one of the earliest gardens in Victoria. The first curator was James Prior, he was paid fifty-two pounds per annum. He was an outstanding curator having been apprenticed to the trade in England at the age of 12, his brother Edward in later years was the Curator of the Koroit Gardens. Prior retired in 1903. During the years of his curatorship Port Fairy was said to have the best gardens outside the city of Melbourne, he was constantly in touch with Baron Von Mueller and later Guilfoyle of the Royal Botanical Gardens of Melbourne. In the early years plants from all over the world were planted here with varying rates of success many of them sent by Baron Von Mueller. In the 1930’ and 40’s the gardens were still very beautiful, and the curator was Roy Manuell. The beautiful iron gates at the entrance were destroyed in the 1946 floods and were replaced in 1989 using some of the material from the original gates. From the 1950’s on the gardens went into a state of decline, much being taken up by the caravan park until in 1986, after a public meeting ‘Friends of the Gardens’ was founded when the entrance section was restored. Black and white Photograph of the path running along the river side of the gardens with trees overhanging the walkThe Rose Series P 1139 The Lovers Walk in the Gardens, Port Fairy, Vic.lovers walk - gardens, path, botanical, trees -
Eltham District Historical Society Inc
Postcard - Photograph postcard, The Rose Stereograph Company, Approach to Eltham, c.1939
... Postcard Photograph postcard The Rose Stereograph Company ...Looking east along the unsealed main road heading into Eltham across the concrete bridge over the Diamond Creek circa 1939. The original wooden bridge was destroyed by flood waters in 1924. Valentine Series No. 3197 Postcard (Michael Aitkin Collection) dated Christmas 1943Postcard Digital file only Postcards scanned from the collection of Michael Aitken on loan to EDHS, 13 Feb 2018Valentine Series No. 3197bridge, diamond creek (creek), eltham, eltham south, main road, main road bridge, postcard, valentine series postcard, michael aitken collection -
Mission to Seafarers Victoria
Postcard, Rose Stereograph, The lounge, Mission To Seamen, Port Melbourne, Vic, c. 1937
... , Mission To Seamen, Port Melbourne, Vic. Postcard Rose Stereograph ...chairs, george v memorial institute, port melbourne, seamen's mission, harry norris, lounge, magazines, canteen, caretaker -
Ballarat Tramway Museum
Postcard, Rose Stereograph Co, 1906 view of Charing Cross, Bendigo, 1990's?
... Postcard Rose Stereograph Co ...Black and White postcard, c1906 view of Charing Cross, Bendigo looking towards the west - Mitchell St. Has three tram cars in the view, the fountain, centre poles and a tailors shop on the south west corner of the area. Reproduced by the Rose Stereograph Co of Glen Waverley. Photo courtesy of Rod Aikman. Has the Rose Co. symbol on the rear of the car, along with areas for the stamp and address block.Has "24" in a circle in the top left hand corner of the front of the card and on the rear, a "William F Scott" address label on the bottom left hand corner.trams, tramways, bendigo, mitchell st, charing cross -
Ballarat Tramway Museum
Postcard, Rose Stereograph Co, Charing Cross, Bendigo, mid 1900's
... Cross, Bendigo Postcard Rose Stereograph Co ...Demonstrates aspects of the development of the Bendigo tramways by ESCo prior to undertaking the Ballarat system. Yields information about Charing Cross soon after the electric tramway was opened.Black and White postcard, early 1900's view of Charing Cross, Bendigo looking towards the north, Pall Mall. Has three tram cars in the view, the fountain, centre poles, horse drawn cabs and vehicles, a poppet head and building on the east side of the Pall Mall. Divided back postcard with areas for message, address, and the stamp. Has "67)" in the top left hand corner of the back of the card, a circled "13" crossed out, "early 1900's" in ink. In the top right hand corner "$8" in pencil. On the front of the card has "67)" in the top left hand corner in ink.trams, tramways, bendigo, pall mall, charing cross, tram 4 -
Ballarat Tramway Museum
Postcard, Rose Stereograph Co, Bendigo talking tram No. 470, mid 1990's
... talking tram No. 470 Postcard Rose Stereograph Co ...Colour postcard of Bendigo talking tram No. 470 leaving the Central Deborah Mine, in the Bendigo Talking tram livery with the mine poppet head in the background. Postcard has "Central Deborah Mine and Talking Tram / Bendigo Victoria" around the edges. Two copies held. Ex Melbourne W2 470, later to be renumbered as Bendigo 35 Reproduced by the Rose Stereograph Co of Glen Waverley. Photo courtesy of Neil Cutts. Has the Rose Co. symbol on the rear of the card, along with areas for the stamp and address block. Rose Series Card No. 3157.Copy 2, has "48" in a circle in the top left hand corner of the front of the card and on the rear, the same number, and a "William F Scott" address label on the bottom left hand corner, and inscription "early 1990s" in ink.trams, tramways, bendigo, central deborah, bendigo trust -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: Bank in Chidoricho Hungama, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: Refugee evacuation, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: Azuma Bridge, Tokyo, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama