Emma Mercer was born in 1870 and lived at Spring Vale (now Pittong) at the Mercer property "The Pines". Emma worked as a teacher and head teacher at several schools, including Mortchup, Chepstowe, Kiata and Tarilta. In 1916, after she had retired from teaching, she married James Brown, a widower, one of a large farming family at Chepstowe. They had no children. James' brother David was married to Emma's sister Elizabeth (Bessie), and after James Brown died in 1931, Emma moved to live near her sister at Pittong. Emma Brown died in 1954. Emma and her sister Bessie were very involved with the war effort during World War I, and after the war they were presented with certificates of appreciation by the Linton "Diggers". (Copies of certificates in the LDHS collection.)Black and white copy of a studio portrait showing a lady standing behind a wooden gate. She is wearing a white high collared blouse with brooch and pendant, and a dark coloured jacket and long skirt. (nee Mercer)"Emma Brown nee Mercer"emma brown née emma mercer

This cream and green patterned vest is said to have been made for William Herbert Teal as part of his "trouseau" on the occasion of his marriage to Daisy Edith Davis on April 14th 1916 at St. Peter's Church, Merino, Victoria, Australia. It is a handmade waistcoat but it is not known who made it. William Teal was born in 1889 to Elijah Teal and Isabella Campbell Reid in Camperdown, Victoria and after marrying, William and Daisy also lived (and worked as farmers) in the Camperdown area. They had seven children. Daisy died in 1962 and William died in 1975. A wedding portrait of William and Daisy shows William wearing a dark suit consisting of a single breasted coat, trousers, good shoes, gloves and a shirt with a stiff, high collar, however if he is wearing this vest, it is unfortunately hidden under his coat. Although by 1916, men's "ready to wear" clothing were widely available, this waistcoat was handmade (possibly by his mother or sister or future wife) and has been preserved by his family for almost one hundred years. Men's suits in the early part of the twentieth century were predomininantly three piece, consisting of a jacket, vest ( or waistcoat) and trousers made from matching fabrics. On special occasions (such as a marriage) the groom might also wear gloves and have a flower in his buttonhole. Some men liked to wear a watch attached to their waistcoat with a fob chain.This item is of significance as a rare example of a man's vest that was made for a special occasion (William Teal's marriage in 1916) and preserved by his family for several generations.Man's handmade vest with a green and cream patterned brocade front, trimmed with green cord around the edges and featuring four inset pockets (also trimmed with the green cord). It has six buttonholes down the left front edge (plus a hand embroidered buttonhole to hold a fob chain) and six corresponding holes for shank buttons (which are missing) down the right front edge. The back and lining are made from cream cotton fabric. The back has a centre seam and a strap with a metal buckle with prongs (to allow for adjusting the length). The cream lining and back display some discolouration and brown marks.flagstaff hill maritime museum and village, great ocean road, warrnambool, camperdown, merino, teal family, william herbert teal, daisy teal, daisy davis, waistcoat, man's waistcoat, vest, wedding, handmade vest, wedding clothes

Black and white copy of original portrait of a family group consisting of a standing man with a large dark moustache, a seated lady wearing a white blouse and dark skirt holding a baby. Three other children are in front of the man.robert simeon nelson 2nd, mrs nelson (nee elizabeth rankin allan)

The Little Wonder Store was built in 1883 from materials of the demolished Maddingley School. It was located on the corner of Grant Street and Labilliere Street. In 1886 James Alford obtained a licence to conduct the Railway Hotel and General Store there. A second storey was added later and the building continued to operate as the Railway Hotel. It was destroyed by fire in 1998. The photo also shows the covered wagon of a travelling salesman, who were known as ‘hawkers’, who were significant in the supply of goods and news to outlying towns and districts before the development of road and rail networks. Small sepia 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll. The photo shows a single-storey building of bluestone and brick with two signs on the front and side, the front sign reading “THE LITTLE WONDER” and the side sign “GENERAL STORE”. Above the door is a sign with the name ‘James Alford’. The windows display the merchandise of the store. Outside the store is a travelling salesman’s cart pulled by two horses. The salesman sits in the cart ready to drive off. Standing along the street outside the store are three men, three women and two young children.Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, shops bacchus marsh, general stores bacchus marsh vic., hawkers, hotels bacchus marsh

John William Henry Austin who emigrated with his brother Lindsay James to Australia in 1852, eventually settled in Durham Lead. He was a well known local photographer and also catered for local sporting functions including the Lal Lal races.John William Henry Austin was a well known local identity and photographer in the latter half of the 19th centuryCopy of photographed portrait of John William Henry AustinJohn William Henry Austin, Photographer, Durham Lead, 1870-1909.john william henry austin, austin family, photographer, local identity

ALBUM. Family Album of Miss Fanny Agnes Hamilton daughter of W A Hamilton. Only Child. c1880B/W Photograph of substantial brick homestawell portrait

Louisa Henty (1847-24) was the eldest daughter of Francis and Mary Ann Henty (nee Lawrence). Following the deaths of her mother and father, she inherited 'Fieldplace' in Studley Park, Kew, and 'Merino Downs' in Henty, near Casterton. The original photo, owned by a descendant of Francis Henty is part of an album of family photographs.Print copy of an original carte de visite; a studio portrait of Miss Louisa Henty, daughter of Francis and Mary Ann Henty (nee Lawrence). Photographed in the Johnstone & O'Shannessy & Co atelier, she is posed in a day dress which has a polonaise and train, dating the photograph to the mid 1870s. Standard props used by the studio include imitation masonry and a curtain.Front: "Johnstone & O'Shannessy & Co"louisa henty, henty family, merino downs, fieldplace -- kew (vic)

This book is the product of research into the author's branch of the Bell family who emigrated from Scotland to Australia in 1839, with a particular focus on the direct forebears who pioneered Gulf Station in the early 1850s and continued to reside at and manage the property for another 100 years. In this revised edition, newly acquired insights into the personalities and activities of those ancestors at Gulf Station are included.bell family, farms, gulf station, pioneer family, yarra valley, yarra glen

Built by noted artist Theodore Penleigh Boyd, father of architect Robin Boyd. Covered under National Estate, National Trust of Australia (Victoria) Local Significance and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p111 The Robins at Warrandyte,* was once home to a member of a famous family and is also one of the first reinforced concrete houses in Victoria. The builder, Theodore Penleigh Boyd, born in 1890, was a talented painter1 noted for his works of the Warrandyte bush. He was the father of architect Robin Boyd, author of the Australian Ugliness and the uncle of painter, Arthur Boyd. Penleigh Boyd’s great grandfather was Sir William A’Beckett, Victoria’s first Chief Justice. Penleigh Boyd is considered by some to be an ‘unsung hero’ overshadowed by more famous members of his family. Mornington Gallery Director Andrea May said many believed Boyd ‘had never received the national acclaim that he deserved’.2 Classified by the National Trust3 and part of the Australian National Heritage,4 The Robins is set well back near the end of Kangaroo Ground – Warrandyte Road, unobserved by passers-by. Built in 1913, The Robins has some Art Nouveau influences and is a descendant of the Queen Anne style. It is covered in stucco and has a prominent attic, which Boyd used as a studio. Some parts of the house are up to 33 centimetres thick and built in part with pisé (rammed earth) and in part with reinforced concrete. Amazingly, Boyd built The Robins without an accessible driveway, and only a narrow track along which he had to cart building materials. The journey was uphill and Boyd terraced the land with Warrandyte rock5 without the aid of machinery. At only 33 years, Boyd was killed in a car accident in 1923. He was buried in Brighton near the home of his parents. Several people have since owned the house, including political journalist, Owen Webster. Boyd was born at Penleigh House, Wiltshire, and studied at Haileybury College, Melbourne and The Hutchins School, Hobart. He attended the Melbourne National Gallery School and in his final year exhibited at the Victorian Artists’ Society. He arrived in London in 1911 and his painting Springtime was hung at the Royal Academy. He painted in several studios in England and then worked in Paris.6 There he met painter Phillips Fox through whom he met artists of the French modern school and also his wife-to-be, Edith Anderson, whom he married in Paris in 1912. After touring France and Italy, the couple returned to Melbourne. In 1913 Boyd held an exhibition and won second prize in the Federal Capital site competition, then the Wynne Prize for landscape in 1914. In 1915 Boyd joined the Australian Imperial Force, and became a sergeant in the Electrical and Mechanical Mining Company. However he was severely gassed at Ypres and invalided to England. In 1918 in London Boyd published Salvage, writing the text and illustrating it with 20 black-and-white ink-sketches of army scenes. Later that year he returned to Melbourne, and, despite suffering from the effects of gas, he held several successful one-man shows, quickly selling his water-colour and oil paintings. In his short career Penleigh Boyd was recognized as one of Australia’s finest landscape painters. He loved colour, having been influenced early by Turner and McCubbin. His works are in all Australian state galleries, the National Collection in Canberra as well as in regional galleries.7 His wife Edith was also an artist having studied at the Slade School, London, and in Paris with Phillips Fox. After her marriage she continued to paint and excelled in drawing. In later years she wrote several dramas, staged by repertory companies, and radio plays for the Australian Broadcasting Commission, in which she took part. She was the model for the beautiful red-haired woman in several of Phillips Fox’s paintings and the family hold three of his portraits of her. *Possibly named after the Aboriginal words warran, meaning ‘object’ and dyte, meaning ‘thrown at’.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, kangaroo ground-warrandyte road, north warrandyte, the robins

A poster promoting the merits of travelling by train to the Royal Melbourne Show of 1958. The Showgrounds train station was one of the first buildings built on the Melbourne Showgrounds in Ascot Vale when the site was established in 1883, allowing patrons quick access to the venue despite it being slightly further out from the city than previous sites.A portrait poster, printed in colour; in the upper half of the poster there is an illustration showing a family of four, walking to the right; in the background is a photograph of a train station; the lower half of the poster consists of a list of the advantages of taking the train, printed on five horizontal stripes, white and green; colour process lithograph, linen-backed.BY TRAIN of course / TO MELBOURNE'S / ROYAL SHOW / SEPTEMBER 18 - 28, 1958/ NO PARKIGN PROBLEMS OR FEES / FREQUENT EXPRES SERVICE FROM FLINDERS ST. & SPENCER ST. RIGHT TO THE GROUNDS / DAY OR PERIODICAL TICKETS; COMBINED RAIL-ADMISSION TICKETS / NEW RAILWAY EXHBIIT WITH FREIGHT ADVISORY SERVICE / YOUR SUBURBAN STATION AHS DETAIL-PACKED PAHMPHLET /train, metro trains, showgrounds, melbourne showgrounds, royal melbourne show, 1985 melbourne royal show, melbourne royal show, showgrounds station, railway

Item is in the collection of "William John SULLIVAN" VX57829. Refer Cat. No. 9523P for his service details.Hard cover book with dust cover. Hard cover - cardboard with adhered blue buckram with gold print on spine. Dust cover - paper, gloss finish. Black, white and gold print on front, spine and back. Illustrated front and back colour photograph full length portrait of Mountbatten. 224 pages - cut, plain, white paper Pictorial book, with black and white and colour photographs. End papers - front and back - illustrated with a family tree. Handwritten inscription on first page.Handwritten inscription - blue ink pen. "JAMES A & N.B./ FOR RESERACH FOR CHERYL/ BUT ALSO FOR/ STEVEN & ROBERT PARK" "To Gary Rae/ From/ Nan Hallion/ 1991"books, biography, mountbatten, william john sullivan

The Harvest Home Hotel was licensed as a beer shop in 1866. Patrick Vallence was the licensee. On his death in 1874 his widow Mrs M. A. Vallence obtained the license. At the time this image was taken George Marshall was leasing the hotel. Following a decrease in the population of Bacchus Marsh, by 1911 the hotel had lost its licence.The Vallence family still owned the building after the loss of the hotel licence in 1911and it was used for some years after this as a private residence by some members of the Vallence family. Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll', the Jeremeas Family Album. The image depicts the Harvest Home Hotel situated in Main Street Bacchus Marsh. The name of the hotel can be seen above the verandah roof. The building appears to be of stone with decorative stonework corners. A verandah is inset to the left of a gabled front section which has its own door and window. On either side of the door beneath the verandah can be seen boot or shoe scrapers. A deep gutter runs along the front of the hotel, with a slab acting as a bridge to the road. Situated in the gutter at the front of the hotel is a water trough which has an arch above it with an ornate lantern, probably to light the front entry and to enable horses to be watered at night. A hitching post is nearby.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. hotels bacchus marsh, stevenson and mcnicoll 1883 photographs of bacchus marsh and district, vallence family bacchus marsh, harvest home hotel bacchus marsh

George Dickie arrived in the Bacchus Marsh area around 1857. In 1863, he married Ellen Ross Anderson, and after five years of farming in Coimadai, they moved into Bacchus Marsh and established a business. In 1866 he bought the bakery business which had been established by James Boatwood and later conducted by William Watson. This business was in Main Street and is shown in this image during the time it was owned and operated by George Dickie. Ellen and George Dickie had seven children, two sons and five daughters. In his later years he changed the business into a general store and also engaged in grain dealing. He died in 1904 but the business was carried on by his sons until sold in March 1916 to a Charles Medling from Numurkah. The building was later demolished in 1927 to make way for four new shops.Small sepia 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll. The picture shows the business of George Dickie which was located in Main Street Bacchus Marsh. The building is a brick or stone structure with a verandah along the entire frontage of the building. Standing in front of the building is a group of adults and children. On the far left is a man wearing a dress coat and hat. He is possibly Mr. George Dickie the owner of this business. To his left are some younger and older children, and a woman, possibly Mrs DIckie. In the background in the doorway is a young boy with woman behind him. On the right of the picture on the street is a man standing alongside a horse and cart. Some advertising signs are leaning against the shop, footpath and verandah pillar. One of them says 'Chaff, Oats, Bran'. Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, bakeries, shops bacchus marsh, george dickie 1831-1904, dickie family bacchus marsh

Vincent Kelly (1877-1958) was a photographer in Mitchell Street, operating from 1904 until his death in 1958. As well as general photography he was renowned for war-time portraits of soldiers. A sketch of his photograph of underground miners was used on the reverse side of the 1913 1 pound note.Nameplate from Vincent Kelly Photographers, Bendigo. Glass namepplate with bevelled edge with silver lettering on black glass in wooden frame. 'PHOTOGRAPERS' Bevelled edged has gold coloured 2 cm border. Lower RH Corner 'N Leves.N. Melbourne.' LEVES.- On the 14th inst., at his residence, 117Queensberry-street, North Melbourne, N. Leves, art decorator and glass embosser, late of Garratt- house, Surrey, England, and of Rothesay, Dunedin, aged 43 years. Ref: Family Notices. (1890, March 17). The Argus (Melbourne, Vic. : 1848 - 1957), page 1. http://nla.gov.au/nla.news-article8595014 Seven other nameplates stored in Container 3 yet to be catalogued as 7280 .2 - 7280.8bendigo, business, photograper

Portrait - Thomas Kinsella c1895 part shareholder Moonlight and Magdala Mine. Half shareholder Magdala cum Moonlight Mine. Photo taken at back of old Kinsella house in Patrick Street before the brick house was built.Copy of original photo held by family. Mr. Thomas Kinsella seated wearing bowler hat and double breasted jacket over white shirt and tie lighter trousers. Seated in cushioned chair. Black curly haired dog on bent wood chair. Both in front of ivy terrace , showing part of house.stawell

This image is one of a series of photographs taken by Melbourne based photographers Stevenson and McNicoll who visited Bacchus Marsh and its nearby districts between September and November 1883. The photo is of a brick residence, built in 1865-66 as a house and surgery for Dr. Rae, a medical practitioner in Bacchus Marsh 1863-1874. Dr. Rae was influential in community affairs as a Justice of the Peace, a member of the Board of Advice of Bacchus Marsh Common School and a President of the Mechanics’ Institute. After ill health forced him to resign his practice, he built the Bungalow in 1880, where he lived until his death. The house was later purchased by William Anderson (c.1880) who named it “Dunglass”. The people in this photograph are probably members of the Anderson family. The house is now used as an Adult Education Centre. The house is of significance as the embodiment of the importance to the community of its influential figures, such as Dr. Rae, in the late nineteenth and early twentieth centuries. Small sepia 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll. The photo is of a double-fronted brick Classical nineteenth century house with a high hip roof. Two brick chimneys are visible. The left hand bay is set forward, with the central section of the house being set back. A concave return verandah supported by decorative columns runs along the front and side of the house, leading to a separate entry door off the side verandah. On the window set in this door, the word ‘SURGERY’ can be discerned, indicating that this is the entrance to be used by patients. The building features buff-coloured stone quoins and architraves. A white picket fence runs along the front. Ranged along the footpath in front of the fence stands a group of eight young women and girls. A flat stone acts as a bridge over a deep drainage culvert running parallel to the street.Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, doctors, houses bacchus marsh

Malcolm Cameron, came from Scotland to Australia with his wife Isabella in 1862. From late 1862 they lived in Bacchus Marsh and remained there for the rest of their lives. After working as a shepherd for some time, Malcolm Cameron was able to acquire land for a farm a few kilometres north west of Bacchus Marsh. The farm was called Glen View but this was later changed to Grand View. It is known to have been a wheat farm. Malcolm Cameron died aged 89 in 1922. His wife died in 1926. Mrs Cameron is presumed to be the woman seated in the photograph and the younger people the Cameron children, Catherine (b.1863), Marion (b.1864)), Mary (b.1867), John (b.1870) and Isabella (b.1872). Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'. The image shows a family group, the Cameron family of Bacchus Marsh, standing and sitting in the garden in front of their farm house. The group comprises four women, a girl, a boy and an elderly man, who is presumed to be Malcolm Cameron. The woman seated in the middle of the group is likely to be Mrs.Cameron. To the left in the picture is a dog. In the background is the weatherboard farm house, a simple construction with two large chimneys and a skillion extension.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, farmers, farms, wheat farms, cameron family bacchus marsh

The former Christopher Crisp residence was constructed in 1868 by William Watson, one of the members of the Bacchus Marsh Express printing company which took over the management of The Express after the first edition, 7 July 1866, was published by its founder, George Lane, a book binder. This syndicate failed after three months and the ownership was then taken over by Christopher Crisp, a compositor working for the company. Crisp remained the editor from 1866 to his death in 1915, when he was succeeded by his son, also called Christopher Crisp, and later by his grandson. Under the Crisp family leadership, The Express widened its readership and was subscribed to by influential men and public servants in Melbourne. (Heritage Victoria Council. Places. Entry no. 45.)Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'. The photograph is of a single-storey cottage of rendered brick and sandstone with a shingled roof of slate tiles and ornate concave verandah. A chimney stands at either end of the house. A carved barge board decorates the northern end of the hip roof. A skillion with windows and a chimney adjoins the rear of the cottage. The front facade is symmetrical with two sash windows placed either side of the central door. A wire fence runs along the front of the cottage. Standing at the gate is a formally dressed gentleman wearing a top hat. A young child is standing on the road. This child is possibly Christopher Crisp, Jnr., who later took over the role of editor of the Bacchus Marsh Express in 1915 on the death of his father. At the time of this photo, he would have been 4 years old. On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, houses bacchus marsh, christopher crisp 1844-1915

The family group in this image is the Burnip family. George Burnip came to Australia in 1854. In 1856 he married Julia Grant. Sometime after this he came to the Bacchus Marsh area and purchased a farm near Coimadai and named it 'The Pines'. George Burnip was active in public affairs as a member of School Board of Advice and the Agricultural Society. One of the two men in this image is likely to be George Burnip, probably the man on the left. The man standing on the right is possibly his son, John, who would have been 22 at the time this photo was taken. The woman seated on a chair placed on the pathway is probably Mrs Julia Burnip. The woman standing with her arms crossed is possibly Mrs Julia Carroll (nee Burnip). The children pictured are likely to be the five Burnip children and two others.Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'. An image showing a brick house with a pitched roof in three separate sections. Two chimneys on either side of the house can be seen. Standing in front of the house is a group of people, male and female, young and old. One female is older and is seated in a chair. At the front of the group is a dog.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE houses coimadai vic, stevenson and mcnicoll 1883 photographs of bacchus marsh and district, houses bacchus marsh, burnip family bacchus marsh

Copy of family tree 'Four Generations of the House of Harrington' Christmas 1894. (Photograph of copy of original). Twenty-seven oval portraits of differing sizes of members of the Harrington family arranged with floral/botanical decoration. Original size of the piece (framed?)) is unknown. Produced by Alan Spicer, Bendigo.. Accompanying printed page details the text with the photographs and there is some appended more recent family history information from the donor (Jack Lilley). Donor details Ref 275/15 Acquisition 3/2/2015.harrington, driscoll, lilley

The Baptist Chapel was first opened in March 1868 in Lerderderg Street, Bacchus Marsh, next to State School No. 28. The plans were prepared by James G. Pippett and the building was constructed by bricklayer J.F.Taylor and carpenter W. Nelson. When fire threatened its destruction in 1871, the townspeople assisted in saving the building by tearing off the roof and removing windows and flooring. Subsequently it was found that a solid silver Communion Service was missing as well as the contents of the Poor Box. The Chapel was renovated and used until 1898 when the building was moved to Main Street, next to the Post Office. Two rooms were added at the front when the building was rebuilt. It was demolished in 1985.Small sepia unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album, which contains photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll. The photograph is of a substantial brick building with a shingle roof. The gable above the front entrance and the side of the building under the guttering are ornamented with rows of bricks laid horizontally. A round window sits in the centre of the gable. The central door and the front and side sash windows are topped by semi-circular brick arches. The ornamentation is continued with contrasting bricks down the corners of the building. An ornamental iron fence runs along the front of the building. A large fir tree stands in the grounds. On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE churches bacchus marsh, baptist chapel bacchus marsh

187 pages : illustrations, maps, portraits, facsimilesnon-fictionCanterbury: A History covers the history of the suburb of Canterbury, Victoria from its Aboriginal history as part of the country of the Wurundjeri people to its completed development as a middle-class suburb by the late 1950s. The book had been a labour of love by esteemed historian, Don Gibb, for many years. Don’s sudden death in late 2017 left the manuscript uncompleted. The Canterbury History Group and the Royal Historical Society of Victoria, together with Don’s family, were determined to see Don’s book completed and published. Jill Barnard contributed the final two chapters dealing with the inter war and post-World War II decades.canterbury, canterbury history, residential development, maling road, gibb> don

Portrait of a man seated beside a table. He has a quill in his hand and his hand resting on a sheet of paper on the table. 96560 stamped on the back with a handwritten c. /Rear shows - Maull & Co Photographers to the Royal Family 62 Cheapside and 187a Piccadilly LondonMaull & Co., 60 Cheapside and 187A Piccadilly, Londonportrait, male, portrait of a man, maull & co., carte de visite

Huutley - Martin Family> ( Alfred Huttleys Brother)B/W: early Side view Portrait Male with pigtail, frilled white high collar Shirt, dark jacketThe Souvenir Studios 552 George Street, opposite Town Hall Sydney On Reverse: Henry Downton - Father of the late Mrs willia Huttley Senr. Launceston Tasmania. William was my Grandfather's (Alfred) brotherhuttley, martin

Ann Dale (nee Lees) was given this frame by her younger brother Thomas Chamberlain Lees, who was eighteen at that time. Thomas was the youngest son and seventh child of Lees and Sarah (nee Chamberlain) Lees. Ann loved her little brother’s artistic talents, which are demonstrated in this frame he designed and carefully carved for her. Thomas had cleverly finished the back with timber pieces around the images, and a section of a 1904 calendar. His “GOOD LUCK” is below the image of Ann, her husband Ellis Dale and their five children, c 1900. Sadly, Thomas died in 1911, aged 25. Ellis Dale’s father, William, was a quarryman who sailed from Yorkshire to Australia in 1852. He later bought land for Dale’s Quarries on the edge of Warrnambool in the area of Dale and Aberline roads. From the age of about eleven, Ellis and his brother worked in the quarry beside their father. In 1890 Ellis Dale married Ann Lees. Ann had lived nearby at Wangoom with her parents, Lees and Sarah Lees, who had had her photograph taken when she was a little girl, wearing her black dress. Ellis built a bluestone cottage for himself and Ann on his father’s land in Dales Road. He later added weatherboard rooms, and they named their finished home “Latrigg”. Early in their marriage Ellis recycled some empty dynamite boxes from their quarry to build a cupboard with drawers for Ann’s flat irons and other ironing equipment. The cupboard was used by future generations until recently, when Ann’s granddaughter, Betty Stone, donated it as part of the Chamberlain Dale Lees Collection. It is now in the kitchen of the Port Medical Office. Chamberlain Dale Lees family – local Colonial Pioneers Centre: Ellis Dale and Ann (nee Lees) and their five children - c 1900. Sons lvor William, Robert Ellis, Alfred John, and daughters - Elsie Mary Dale, and Daisy Elvena Dale. Top Left: Ann Lees - c 1868, (the little girl in the black dress) Top Right: William Dale Jnr. and Ellis Dale - c 1871 Lower Left: Ellis Dale and Ann (nee Lees), married 22 Jan. 1890 Lower Right: William Dale Jnr. and Agnes (nee Gillies), married 1883 Oval Photographs: unidentified but presumed to be family members [NB Spelling of Ann Dale – The spelling of Ann’s name has been confirmed by Betty Stone as being “Ann” (Not Anne), by phone conversation with Flagstaff Hill Maritime Village, K P 14th April 2014] (Note: For additional information please refer to Betty Stone’s book “Pioneers and Places - A History of three Warrnambool Pioneering Families” ie. Chamberlain, Dale and Lees Families)This item is associated with the families of Chamberlain, Dale and Lees. These families are listed in the "Pioneers' Register" for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The handmade frame is a unique example of clever craftsmanship and carving skills used by early pioneers with limited access to materials.Family photographs, nine, set into carved, solid wood frame, stained and lacquered. Carving includes leaves, flowers, a horseshoe and a ribbon with the words "GOOD LUCK" Photographs are of the Lees family of Wangoom, from the 'Chamberlain Dale Lees Collection’ Made by Thomas Lees for his sister, Ann. The little girl with black boots on is Betty Stone's grandmother. The back of the frame has a London calendar dated 1904.Words in carved ribbon "GOOD LUCK" Calendar for the year 1904flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chamberlain, dale, lees, stone, betty stone, warrnambool pioneers, thomas lees, wangoom, ann dale, ellis dale, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chamberlain, dale, lees, stone, betty stone, warrnambool pioneers, thomas lees, wangoom, ann dale, ellis dale, thomas chamberlain lees, handmade photograph frame, carved photograph frame, dynamite

From Abbott Family album (Box 892). Harold Athelstone Abbott was the fourth child and third son of Mary Hannah Gibbs and Richard Hartley Smith AbbottA Bartlett Bros Bendigo sepia standing studio portrait of Harold Athelstane Abbott in a sailor suit with racquet by his sideIn in written on reverse is 'Taken July 1st 97, Harold Athelstane Abbott born April 7th 1889r h s abbott, bartlett bros.

The Douay (Douai) Rheims Bible is an English translation of the Latin Vulgate Bible (which had been the Latin Bible used by the Catholic Church since the 4th century). It was produced by Roman Catholic scholars in exile from Elizabethan Protestant England at the English College of Douai (then in the Spanish Netherlands but later part of France). The New Testament translation was published in 1582 at Rheims where the English College had temporarily located in 1578. The Old Testament was translated shortly afterwards but was not published until 1609-1610 in Douay (which makes it older than the King James version). The completed work was the only authorized Bible in English for Roman Catholics until the 20th Century. Its purpose was to uphold the Catholic tradition in the face of the Protestant Reformation and was produced as an alternative to the several Protestant translations then in existence. Prior to it being published, the Roman Catholic practice had restricted personal use of the Bible, in the Latin Vulgate, to the clergy. Bishop Richard Challoner issued a series of revisions (1749 - 1772) intended to make the translation more easily understandable and subsequent editions (including this one) were based upon this revision. In 1871, an edition of the Douay - Rheims Bible was published by Thomas Kelly & Sons of Philadelphia (and later, New York). Thomas Kelly described himself as a "Publisher, Printer, Binder, Lithographer and Steel Plate Engraver". In 1876, Thomas Kelly won an award (a Diploma of Honor and a Medal of Merit) for "the Best Catholic Bibles and Prayer Books" at the International Centennial Exhibition held in Philadelphia and his firm continued to print editions of the Bible throughout the 1870's but little is known of him after 1880 when this edition was published. This Bible has been in the Kermond family from 1888 until 1984 when Laurence Kermond (its last owner) died. The Kermonds were an old Warrnambool family with ties to the district going back to the mid 1840's. Joseph Kermond's mother, Catherine (1818 - 1895) and her husband John Kermond,, an ex-convict (1809 - 1877), had moved from Tasmania around 1843 and were living in the Warrnambool area in 1844 where their eldest son was born. They had six more children born at Port Fairy (or Belfast as it was then called). Catherine is buried at the Tower Hill cemetery. The last owner of the Bible was Laurence Kermond (1918 - 1984). He was the great grandson of John and Catherine Kermond and was a well known painter who lived in the Merimbula and Paynesville areas of N.S. W. and Victoria during the 1970's and early 1980's. The story of Joseph Kermond finding the Bible on a beach on the Shipwreck Coast near Peterborough on the southern coast of Victoria, Australia is plausible as it was not uncommon for items from shipwrecks to be washed ashore. However this Bible would not have come from the wreck of the Loch Ard as the dates don't align. The Loch Ard was wrecked in 1878 and this Bible was printed in 1880. It appears to have been printed for the Australian market as there is a page (with an engraved portrait) dedicated to the "Most Rev. Roger Bede Vaughan, O. S. B. Archbishop of Sydney, N. S. W.". It may also have been aimed at the Irish immigrants as the four "Family Register" pages are decorated with borders of shamrocks. The donor found the Bible in a box of secondhand books on a market stall in Gippsland and recognised its links to the Shipwreck Coast through the name of previous owners (a well-known Warrnambool name) and the story of it being found on a beach near Peterborough. This Bible is a rare example of Douay and Reims Catholic Bible of the late 19th century that was once a treasured item belonging to the Kermond family - one of Warrnambool's early settlers. It also has a most unusual story attached to it - being found (and rescued) washed up on a local beach and almost one hundred years later, being rescued again from a secondhand book stall.This Catholic Bible is an 1880 edition of a "Douay Bible and Rheims Testament", printed and published by Thomas Kelly of New York. Its full title is "The Holy Bible translated from the Latin Vulgate Diligently Compared with The Hebrew, Greek and Other Editions in Various Languages". It is revised with annotations by the Right Rev. R. Challoner D.D. The Bible has brown leather embossed front and back covers decorated with identical ornate gilt patterns and a central picture of a cross. It has two coloured illustrations and numerous black and white lithographs and engravings including portraits of past popes, events and places from Bible stories and decorative borders. The Bible includes the Old and New Testaments, approbations from Pope Pius the Sixth and Archbishops of the United States and other countries (including Archbishop Vaughan of Sydney), a Family Register with handwritten notes on births, deaths and marriages from the Kermond family (as well as a description of how they obtained the bible), a Catholic dictionary of the Bible, a history of the Holy Scriptures, a chronological list of heretics (Theological history) and a description of the "Centennial Award - Diploma of Honor and medal of Merit" won by Thomas Kelly (for the "Best Catholic Bible") at the Centennial Exhibition at Philadelphia in 1876. The Records section has a note on the Memoranda page written by William John Kennard in 1920.Spine: HOLY BIBLE Title Page: THE/ HOLY BIBLE /TRANSLATED FROM/ THE LATIN VULGATE/ DILIGENTLY COMPARED WITH/THE HEBREW, GREEK AND OTHER EDITIONS/ IN VARIOUS LANGUAGES/ THE OLD TESTAMENT WAS FIRST PUBLISHED BY THE ENGLISH COLLEGE AT DOUAY, A.D. 1600 / AND THE NEW TESTAMENT, BY THE ENGLISH COLLEGE AT RHEIMS, A.D. 1582./ REVISED WITH ANNOTATIONS/ BY THE RIGHT REV. R. CHALLONER D.D./ TOGETHER WITH REFERENCES, AND AN HISTORICAL AND CHRONOLOGICAL INDEX./ NOW CAREFULLY CORRECTED ACCORDING TO THE CLEMENTINE EDITION OF THE SCRIPTURES/ NEW YORK / THOMAS KELLY, PUBLISHER/ 17 BARCLAY STREET. / 1880 Dedication Page: DEDICATION OF THE ORIGINAL EDITION/ TO/ THAT LOYAL, RELIGIOUS AND ENLIGHTENED BODY OF MEN / THE/ CATHOLICS OF THE UNITED STATES OF AMERICA/ IN ADMIRATION OF THE STEADY ZEAL WITH WHICH THEY HAVE KEPTTHE/DEPOSIT OF FAITH/ BEQUEATHED THEM BY THEIR FOREFATHERS/ AND HANDED DOWN, WITHOUT INTERRUPTION OT ADULTERATION, TO THEIR GRATEFUL POSTERITY/ THIS EDITION/ OF THE/DOUAY BIBLE AND RHEIMS TESTAMENT/ IS / WITH GRATITUDE FOR PAST FAVORS AND HOPES OF FUTURE ENCOURAGEMENT/ MOST RESPECTFULLY ENSCRIBED. Handwritten note: ""This Holy Book was found . on the beach . near Peterborough Vic. having been washed ashore . from the wreck of the Loch Ard, (sailing ship) in the year 1888 . By .Joseph . Kermond; and presented to . his mother . Catherine Kermond , who in turn passed it - on . to her youngest . son ; one Jacob Kermond. He in turn presented . it to his son . William John Kermond , (the writer), 23/3/20)" [Original punctuation]flagstaff hill maritime museum and village, warrnambool, shipwreck coast, peterborough, kermond, kermond family, loch ard, bible, douay and rheims bible, catholic bible, thomas kelly and sons publiisher, douai, rheims, holy bible, religious bible, catherine kermond, john kermond, william john kermond'

As part of centenary celebrations, portraits were commissioned of all previous presidents of the AAFB and AAB. William Quayle (1861-1910) was President of the Association for the Advancement of the Blind in 1905. His grand daughter Coral Graham lent some family photographs to help the painter capture his likeness.1 sepia and 1 black and white photograph of large group of family memberswilliam quayle, association for the advancement of the blind

John MITCHELL (1837 - 14 July 1926) Born Woodside, Donside, Scotland John Mitchell attended evening classes under James Giles in Aberdeen, and was also taught by his uncle the Peterhead artist John Mitchell. After an apprenticeship at a local lithographic company (Keith and Gibb) John Mitchell went to London to study at the Slade under Legros. Returning to Aberdeen he painted many scenes around the city and Aberdeenshire, including Balmoral, under the patronage of Queen Victoria. John Mitchell gave lessons in painting to the Royal Family. His landscapes are highly coloured with dominant blues and purples in the hills and with vivid greens and yellows in the foreground, subtly fused and never garish. He lithographed sketches for John Stewart's 'The Sculptured Stones of Scotland', 2 vols 1856-57, illustrated 'Under Lochnagar' 1894. His landscapes of Aberdeenshire are highly prized especially in the area in which he lived. His painting in the Mearns is regarded by some as his best work. In 1875 he painted an interior of Culter Castle and its Chapel which was subsequently purchased by the owner and in 1883 showed a portrait of his mother. Lived latterly at 10 Gladstone Place, Queen's Cross, Aberdeen. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed watercolour of a Scottish Scene by John Mitchellart, artwork, john mitchell, mitchell, scotland, scottish, art, artwork, john mitchell, mitchell, scotland, scottish

John MITCHELL (1837 - 14 July 1926) Born Woodside, Donside, Scotland John Mitchell attended evening classes under James Giles in Aberdeen, and was also taught by his uncle the Peterhead artist John Mitchell. After an apprenticeship at a local lithographic company (Keith and Gibb) John Mitchell went to London to study at the Slade under Legros. Returning to Aberdeen he painted many scenes around the city and Aberdeenshire, including Balmoral, under the patronage of Queen Victoria. John Mitchell gave lessons in painting to the Royal Family. His landscapes are highly coloured with dominant blues and purples in the hills and with vivid greens and yellows in the foreground, subtly fused and never garish. He lithographed sketches for John Stewart's 'The Sculptured Stones of Scotland', 2 vols 1856-57, illustrated 'Under Lochnagar' 1894. His landscapes of Aberdeenshire are highly prized especially in the area in which he lived. His painting in the Mearns is regarded by some as his best work. In 1875 he painted an interior of Culter Castle and its Chapel which was subsequently purchased by the owner and in 1883 showed a portrait of his mother. Lived latterly at 10 Gladstone Place, Queen's Cross, Aberdeen. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed watercolour of a creek in Scotland.art, artwork, art, artwork, john mitchell, mitchell, scotland, scottish