The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. The women of Kew set up a kiosk in front of the Post Office and the Railway Station to solicit their round, oval and square shaped wares. Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the dayWorld War I-era pressed tin fundraising button. The button features the French flag and a red cross over a starburst, against a gold background. Encircling the image is a white ring with the text ‘French Red Cross’ in blueFrench Red Cross

Original photogaphs have been removed from frame and are catalogued at 1311, 1312. The frame has long been considered to be the work of Vera Mayhew, a well-known exponent of chip carving. The original photographs are catalogued elsewhere as: 01311: An early copy sepia photographic print pasted to cardboard of four men in military uniform, three wearing caps, one bare-headed. They are, standing, Pte Weir, Pte Tweedie, seated Pte Beecher, Pte Cochrane. They known to have been members of the Victorian Mounted Rifles, but the uniform is unusual for that group. They are wearing different leggings, and their belts cross their right shoulder, not the left. They wear a piece of cloth with diagonal stripes across it pinned above their left pocket. In all, it suggests a photograph taken, possibly in South Africa, in their battle dress, and possibly after a team game. William Hamilton Weir was invalided back to Aust, arr. 5 June 1901; James Tweedie 287 Pvt Stratford, prom. to Corporal 20 March 1901, listed in fallen for World War 1; Private J.A. Beecher also had brothers who served (see P00179B). Pte William James Cochrane 309, prom to Lance Corp 10 April 1900, Corp 16 Nov 1900, apparently ret. to Aust, appt. commander No 1 Troop Wangaratta, ret to South Africa in 5th Contingent as Lieutenant, became a member of 6th Batt. Aust Commonwealth Horse, ret. to Aust. 7 Aug 1902. 01312: A first generation sepia photographic print of four men in Boer War Uniform. They are, standing, Pte H. Beecher, Pte A. Beecher, Pte Josh Jones, seated Sgt Pruden. They are all wearing standard Light Horse uniform, with slouch hats. Shoeingsmith Henry Ward Beecher 556 was invalided back to Aust., arr. 9 May 1901; Trooper George Andre Beecher 557; Josh Jones is possibly John Joseph Jones 434 of Stratford. Sgt Pruden was killed in action. These photographs originally hung in the Stratford Mechanics' Institute.A chip-carved wooden frame with reproduction photographs of Stratford men in uniform similar to Boer War uniform.boer war 1899-1902, craft, handcraft

MEDIUM: Photograph/Print DESCRIPTION: Photographic collage Black outer frame with glass Image and white board inner frame under glassSigned and dated; proper left corner on white board under imagephotograph, de, print, me, roach, catch, if, you, can

The Installation of the Chancellor Professor Emeritus David Edmund Caro, AO, OBE as the second University of Ballarat Chancellor took place on 28 October 1998 at the Lydiard Street Uniting Church, corner of Lydiard and Dana Streets, Ballarat.Nine colour photographic prints taken at the installation of the second University of Ballarat Chancellor, Professor Emeritus David Caro, AO, OBE. .1) Governor Sir James Gobbo greets David Caro .2) Father Rupert O'Down in blue hood .3) Michael Ronaldson in suit, Mary Akers in grey hood behind man in red. Gabrielle McMullan in blue and pink gown (left) .5) Vice Chancellor David James (left) speaks to Governor Sir James Gobbo .6) Academic Procession in Lydiard Street, Ballarat .7) University of Ballarat Mace followed by David Caro and Sir James Gobbo. (Bill Pryor on far right) .8) Chancellor David Caro and Mace holder .9 Janet Dawe stands with Bagpipe players outside the Ballarat Club. caro, david caro, gobbo, james gobbo, governor of victoria, chancellor, university of ballarat, william pryor, michael ronaldson, gabrielle mcmullin

Store was located opposite Dudley Street. Note various signs for Electrine Candles, Baker, Cadburys Cocoa, Cadburys Chocolate (in window) and Refreshment Room (faded). Edited version of print/digital file sourced from State Library of Victoria: Title: Lloyd's Store, Eltham, [Vic.] [picture]. Date: [ca. 1916-ca. 1922] Description: 1 photographic print : gelatin silver ; 6.6 x 10.8 cm. Copyright status: This work is out of copyright Terms of use: No copyright restrictions apply. Identifier(s): Accession no:H86.93 Subjects: Eltham (Vic.) -- Buildings, structures, etc; Victoria -- History -- 1901-1922; Gelatin silver prints Index terms: Shops; Victoria Notes: Title inscribed in ink on verso. Photographer unknown. Undated, date range provided by donor. Contents / Summary: Looking across street towards weatherboard store with porch at doorway, signs painted on front of store read: Electrine Candles. Source / Donor: Gift; Mrs. Nancy Graham; 1986.Copy of sepia photographbaker, cadburys chocolate, cadburys cocoa, lloyd's store, refreshment room, slv, shops

Most of the civic and sporting ephemera assembled by Francis Rigg were patriotic buttons. The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. The women of Kew set up a kiosk in front of the Post Office and the Railway Station to solicit their round, oval and square shaped wares. Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the day. The badges form part of a collection of ephemera originally purchased by Francis Horace Rigg (19/10/1882-05/03/1946) of 50 Belford Road, Kew (Vic.). Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and badges was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg during the Gallipoli and Beyond Commemoration.The collection covers a period of almost 40 years. The majority of the badges are patriotic buttons, issued and sold during and immediately after World War 1 to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.The use of common symbols for a range of purposes is sometimes a feature of wartime and post-war fundraising buttons. Like the ‘Hospital Day 1919’ badge, the ‘Come Back to God’ badge is within a seven pointed star on a dark blue ground with sprays of wattle; attempting to harness nationalism with religion.Come back to Godbutton

Most of the civic and sporting ephemera assembled by Francis Rigg were patriotic buttons. The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. The women of Kew set up a kiosk in front of the Post Office and the Railway Station to solicit their round, oval and square shaped wares. Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the day. The button forms part of a collection of ephemera originally purchased by Francis Horace Rigg (19/10/1882-05/03/1946) of 50 Belford Road, Kew (Vic.). Frances Rigg was a local business identity in Kew, ultimately managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street, Kew from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and badges was inherited by his son, Ken Rigg (14/11/1922-19/01/2014). The collection was subsequently donated to the Kew Historical Society in 2015 by his grandson Adrian Rigg during the Gallipoli and Beyond Commemoration. The collection covers a period of almost 40 years. The majority of the badges are patriotic buttons, issued and sold during and immediately after World War 1 to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Round metal button in red, white, blue and gold showing a sun setting over the sea with words printed in red around border and on lower outer rim.hospital day, patriotic buttons, first world war (1914-18)

Miss Eva Carmichael is one of two survivors of the Loch Ard shipwreck.. Loch Ard was bound for Melbourne in 1878 loaded with passengers and cargo when it ran into a rocky reef at the base of Mutton Bird Island, near Port Campbell. Of the 54 crew members and passengers on board, only two survived: an apprentice, Tom Pearce and a young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. The wreck of Loch Ard still lies at the base of Mutton Bird Island and much of the cargo has been salvaged. Some was washed up into what is now known as Loch Ard Gorge following the shipwreck. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. The photograph is significant for its association with the wreck of the Loch Ard. This wreck has been protected as a Historic Shipwreck since 11 March 1982, under the Commonwealth Historic Shipwrecks Act (1976) Flagstaff Hill’s collection of artefacts from Loch Ard is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register. The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the Loch Ard, which was one of the worst and best known shipwrecks in Victoria’s history. The Loch Ard collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history. Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Photograph of Miss Eva Carmichael sitting on a chair holding a curtain. Text below photograph is partly unreadable but gives the name of the photographic studio. A printed on the back "County of Gloucester Studio Cheltenham" with the address and other informaion.Reverse has crest that includes “PRIZE MEDALIST PARIS EXHIBIT’N 1867” Printed text “No. …………” “COUNTY OF GLOUCESTER STUDIO / 20a / PROMENADE VILLAS / CHELTENHAM” and “Autotype Prints or Permanent Porcelain enlargements can be made from this plate” flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, photograph of miss eva carmichael, eva carmichael, loch ard shipwreck, county of gloucester studio

'Souvenirs in relation to the Chalet and Mount Buffalo were first mentioned in December 1912... A large range of souvenirs has since been associated with the Chalet and Mount Buffalo from crafted wooden items, silver spoons, cups etc... The collection includes a broad selection of products that have been sold throughout much of the Chalet's history, each representative of the transient fashions of their period.' (Pg 114. Historica)Listed in Draft Inventory of Significant Collection Items . Appendix A.3. Souvenirs. (Pg 168. Historica).Cream polyester, cotton knit tee shirt with a printed photographic image of the chalet on the front. "Mt Buffalo Vic" is printed above the image. There are blue and green diagonal stripes above and below the image. Short sleeves.On front of label:"AN / AUSTRALIAN / WILDLIFE / GARMENT / 85% POLYESTER / 35% COTTON / 14 HEIGHT 160CM " On back of label:"MADE IN AUSTRALIA / WARM HAND WASH / DO NOT BLEACH / WARM IRON" On front of shirt:" MT BUFFALO VIC" & "C N C Y"

.1 SEPIA PHOTOGRAPH MOUNTED ON CARDBOARD .2 COPY OF ABOVE PRINTED ON PHOTOGRAPHIC PAPER COUNCILLOR - WEICKHARDT, J. F. FROM COLLAGE REG 822local history, photography, photograph, councillors

.1 SEPIA PHOTOGRAPH OF CR. ANDREW NICHOLLS TAKEN FROM THE COLLAGE OF COUNCILLORS AND OFFICERS REG NO. 822 .2 COPY OF ABOVE PRINTED ON PHOTOGRAPHIC PAPERlocal history, photography, photograph, councillors

Black and white photographic copy print of a drawing showing the Ballarat district from Black Hill in the early mining days of the town. Titled "Ballaarat flat from the Black Hill". Has black mark in top right hand corner and a number of water stains on both sides of the print. Has ARHS Vic Div. photo no. stamp on rear, but this has been crossed out.In pencil in the middle of the photo "Dr Andrews" and "ARHS (Vic. Div.) Archives" photo stamp in the bottom right hand corner, in red ink.trams, tramways, ballarat, black hill, mining

.1 SEPIA PHOTOGRAPH OF CR. J.C. WEICKHARDT TAKEN FROM THE COLLAGE OF COUNCILLORS AND OFFICERS RG. NO.822 .2 SEPIA COPY OF ABOVE PRINTED ON PHOTOGRAPHIC PAPERlocal history, photography, photographs, councillors

.1 SEPIA PHOTOGRAPH OF CR. ERNEST EBERHARD TAKEN FROM THE COLLAGE OF COUNCILLORS AND OFFICERS REG. NO.822 .2 SEPIA COPY OF ABOVE PRINTED ON PHOTOGRAPHIC PAPERlocal history, photography, photographs, councillors

.1 SEPIA PHOTOGRAPH MOUNTED ON CARDBOARD .2 COPY OF ABOVE PRINTED ON PHOTOGRAPHIC PAPER TOWN CLERK & SURVEYOR, BARTSON, ARTHUR. FROM COLLAGE REG 822local history, photography, photograph, councillors

.1 SEPIA PHOTOGRAPH MOUNTED ON CARDBOARD .2 COPY OF ABOVE PRINTED ON PHOTOGRAPHIC PAPER INSPECTOR FOR THE BOROUGH OF CLUNES - NOLAN, HUGH. FROM COLLAGE REG 822local history, photography, photograph, councillors

.1 SEPIA PHOTOGRAPH OF COUNCILLOR, BOROUGH OF CLUNES ROBINSON, FRED K. FROM COLLAGE REG 822 .2 SEPIA COPY OF ABOVE PRINTED ON PHOTOGRAPHIC PAPERlocal history, photography, photograph, councillors

.1 SEPIA PHOTOGRAPH OF CR. JOSEPH E. MEYERS FROM THE COLLAGE OF COUNCILLORS AND OFFICERS REG 822 .2 SEPIA COPY OF ABOVE PRINTED ON PHOTOGRAPHIC PAPERlocal history, photography, photograph, councillors

This image was taken for the purposes of illustrating Jack Harvey's book 'Eureka rediscovered'. According to the State Library of Victoria catalogue the work is an over-painted photographic print, photographed by an unknown photographer from the painted canvas by Izett Watson and Thaddeus Welch, which was exhibited as a painted cyclorama in the 'Battle of Waterloo' Cyclorama building, Fitzroy, ca. 1891. This is based on the evidence that the pulleys and brick wall are discernible at the top edge of the image which B. Ireland has not over-painted. This artist may by Beryl Ireland, who was a miniaturist and studied at the National Gallery of Victoria Art School in the 1870s. Beryl Ireland was the niece of Richard Davies Ireland (1816-1877), the lawyer for the Eureka defendants in 1855. Information provided by Dr. Mimi Colligan, 2002. (http://search.slv.vic.gov.au/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=SLV_VOYAGER1657187&indx=2&recIds=SLV_VOYAGER1657187&recIdxs=1&elementId=1&renderMode=poppedOut&displayMode=full&frbrVersion=&dscnt=3&frbg=&tab=default_tab&dstmp=1339483021572&srt=rank&mode=Basic&dum=true&fromLogin=true&vl(freeText0)=Eureka%20Stockade%20Ireland&vid=MAIN)Large format reproduction of a handcoloured photograph of the Eureka Stockade taken from the painted canvas by Izett Watson and Thaddeus Welch, which was exhibited as a painted cyclorama in the 'Battle of Waterloo' Cyclorama building, Fitzroy, c1891. The original is in the collection of the State Library of Victoria. (http://handle.slv.vic.gov.au/10381/132726) Signed lower right "B. Ireland"eureka stockade, ireland, b. ireland, beryl ireland

The Freedom of Entry to the City was an honour conferred by the Bendigo City Council to the AHQ Survey Regiment on the 20th of April 1970. The unit was granted for the first time the privilege of marching into the city with swords drawn, bayonets fixed and drums beating. The honour is usually bestowed upon local regiments, in recognition of their dedicated service, and it is common for military units to periodically exercise their freedom by arranging a parade through the city. The Freedom of Entry Parade occurred on the 14th of June 1970 led by the Regiment’s CO – LTCOL Bill Sprenger MID, MBE; the unit marched up View St in the CBD to the Queen Elizabeth II Oval. The ceremonial parade followed with a march past the guests of honour, Mayor of Bendigo Councillor Clark Jeffrey and military dignitaries. The parade concluded after formal inspections of the troops. A ceremonial scroll was presented to the Bendigo City Council to the AHQ Survey Regiment citing the occasion and was proudly displayed in the entry foyer to Fortuna Villa up to October 2008. The Regiment continued to exercise its Freedom of Entry with anniversary parades in 1977, 1980, 1985, 1990 and 1995. Refer to item 6020.8P for another set of photos of this event scanned from photographic prints.This set of 39 colour photographs were taken on the occasion of the Army Headquarters (AHQ) Survey Regiment’s Freedom of Entry parade to the City of Bendigo on the 14th of June 1970. The photographs are on 35mm negative film. They are part of the Army Survey Regiment’s Collection. The photographic negatives were scanned at 96 dpi. .1) to .2) - Photo, colour, 1970. AHQ Survey Regiment marches to Queen Elizabeth Oval entry, led by CO LTCOL Lionel Sprenger MBE, MID, unidentified 2IC and RSM WO1 John Hogan. .3) to .4) - Photo, colour, 1970. AHQ Survey Regiment at entry to Queen Elizabeth Oval, exercising its right of entry to City of Bendigo. .5) to .6) - Photo, colour, 1970. AHQ Survey Regiment marches down View St in the City of Bendigo. .7) to .11) - Photo, colour, 1970. AHQ Survey Regiment marches up View St in the City of Bendigo. .12) to .13) - Photo, colour, 1970. AHQ Survey Regiment enters Queen Elizabeth Oval, led by CO LTCOL Lionel Sprenger MBE, MID, unidentified 2IC and RSM WO1 John Hogan. .14) - Photo, colour, 1970. One of AHQ Survey Regiment’s squadrons enters Queen Elizabeth Oval. .15) to .19) - Photo, colour, 1970. AHQ Survey Regiment forms up on Queen Elizabeth Oval awaiting arrival of dignitaries. .20) - Photo, colour, 1970. AHQ Survey Regiment inspected by dignitaries. L to R: Director of the Survey Corps COL Frank Buckland OBE, MID; Colonel Commandant BRIG Don Macdonald AM, MID; unidentified General, CO LTCOL Lionel Sprenger MBE, MID, Mayor of Bendigo Councillor Clark Jeffrey, unidentified personnel. .21) to .23) - Photo, colour, 1970. AHQ Survey Regiment inspected by dignitaries. Director of the Survey Corps COL Frank Buckland OBE, MID; Colonel Commandant BRIG Don Macdonald AM, MID; unidentified General, CO LTCOL Lionel Sprenger MBE, MID, Mayor of Bendigo Councillor Clark Jeffrey. WRAAC personnel centre rank - PTE Desi Asaris, rear rank L to R: unidentified, PTE Pat Lumsden, PTE Heather (Turnbull) Slater, SGT Irene (Rankins) Saunders. .24) to .27) - Photo, colour, 1970. Band inspected by dignitaries. Director of the Survey Corps COL Frank Buckland OBE, MID; Colonel Commandant BRIG Don Macdonald AM, MID; unidentified General, CO LTCOL Lionel Sprenger MBE, MID, Mayor of Bendigo Councillor Clark Jeffrey. .28) to .30) - Dignitaries return to dias. Director of the Survey Corps COL Frank Buckland OBE, MID; Colonel Commandant BRIG Don Macdonald AM, MID; unidentified General, CO LTCOL Lionel Sprenger MBE, MID, Mayor of Bendigo Councillor Clark Jeffrey.Director of the Survey Corps COL Frank Buckland OBE, MID; Colonel Commandant BRIG Don Macdonald AM, MID; unidentified General, CO LTCOL Lionel Sprenger MBE, MID, Mayor of Bendigo Councillor Clark Jeffrey. .31) - Photo, colour, 1970. Unidentified Padre’s Freedom of Entry parade address. .32) - Photo, colour, 1970. AHQ Survey Regiment during the unidentified Padre’s Freedom of Entry parade address. .33) to .35) - Photo, colour, 1970. AHQ Survey Regiment led by CO LTCOL Lionel Sprenger MBE, MID, unidentified 2IC and RSM WO1 John Hogan march past the dais to salute the parade dignitaries. .36) - Photo, colour, 1970. Parade dignitaries at the dais: unidentified councillor, Mayor of Bendigo Councillor Clark Jeffrey. Colonel Commandant BRIG Don Macdonald AM, MID; unidentified General. .37) to .38) - Photo, colour, 1970. AHQ Survey Regiment squadrons march past the dais to salute the parade dignitaries. .39) - Photo, colour, 1970. AHQ Survey Regiment WRAAC personnel march past the dais to salute the parade dignitaries. L to R: unidentified (x2), CPL Beryl Parkinson, unidentified (x2), PTE Robyn (Marsh) Kemsley, unidentified, WO2 Marj Knight, PTE Desi Asaris, PTE Heather (Turnbull) Slater, SGT Irene (Rankins) Saunders..1P to .3P – no annotationsroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

RATE COLLECTOR. BOROUGH OF CLUNES - ROFE, JOHN FROM COLLAGE REG 822.1 SEPIA PHOTOGRAPH MOUNTED ON CARDBOARD .2 COPY OF ABOVE PRINTED ON PHOTOGRAPHIC PAPER RATE COLLECTOR. BOROUGH OF CLUNES ROFE, JOHN FROM COLLAGE REG 822local history, photography, photograph, councillors

Black & White photograph (reproduction) of Electric Supply Co. (ESCo) tram no. 13 near tram depot, Wendouree Parade, c1905. Photo made from a copy negative of an original held in the Archives. Tram not yet fitted with destination boxes. On front of tram is a driver, possibly an inspector by the ground, at rear is a conductor, two ladies seated on rear end and a gentleman on the front seat. Houses in background. Image is not full size to the photographic print. Tram lettered 'Ballarat Tramways' 2nd copy made for No. 12 display - 3/99. Copy made Oct. 2001 for the "gold, Gold GOLD" temporary exhibition - colour laser print onto card, with Velcro dots on rear. Stored in box D1 (Display Box) 02/2003. For a similar photograph see Reg. Item 5451. Hi Res version from scan of the copy neg added 4-5-2020 as i2.trams, tramways, esco, wendouree parade, tram crews, employees , tram 13

.1 SEPIA PHOTOGRAPH MOUNTED ON CARDBOARD .2 COPY OF ABOVE PRINTED ON PHOTOGRAPHIC PAPER HEALTH OFFICER, BOROUGH OF CLUNES - COLQUHOUN, ROBERT. M.D. FROM COLLAGE REG 822local history, photography, photograph, councillors

BOROUGH OF CLUNES 1896, PHOTOGRAPH OF MR. S. COOPER TAKEN FROM A FRAMED COLLAGE OF PHOTOGRAPHS. LOCATION OF COLLAGE 06.03.1 SEPIA PHOTOGRAPH OF MR. SAMUEL JAMES COOPER - COUNCILLOR - AND MAYOR FROM AUGUST 1896 TO JULY 1897 .2.3.4 BLACK AND WHITE COPY OF THE ABOVE PRINTED ON PHOTOGRAPHIC PAPERS. COOPERlocal history, photography, photographs, councillors & officers

Glossy postcard with edges raised above the photograph itself of Collins St. Melbourne looking east along Collins St towards the NE corner of the intersection with Elizabeth St. Cable trams in distance with many horse drawn vehicles on both sides of street and pole lines with wires. B.H.Alston building features. Some motor cars in photo. On base of card is title & in bottom RH corner is 'No. 10'. On rear are areas for Address and Correspondence. Title is 'Collins St. 'The Block' Melbourne'. On rear as well is publisher details with Melbourne mis-spelt. Rear of card is finished off white , while front has a light pink finish. Photo printed using photographic paper. Printed in Great Britain. trams, tramways, melbourne, collins st., cable trams

Photographically printed black and white postcard with an impressed image of an ESCo tram just past the intersection of Doveton St. and Sturt St. travelling east along the north side of Sturt. Street towing a heavily laden horse tram as a trailer. Photo appears to be taken soon after opening of the electric trams, as the tram does not have any destination box above the driver. Possibly summer 1905/1906. Numerous people in the street, some horse drawn vehicles in the photograph. Shows buildings along the south side of Sturt St. and part of the verandah of the building at the NE corner of Doveton St. For a list and description of the same base image see Archives file - "Notes on ESCo Tram towing a heavily loaded trailer" On rear is places for correspondences stamp, address. Addressed to Miss E. Freeman, in Dunedin NZ, with a hand written message. Posted in Melbourne on 28/10/1908. Titled "Sturt Street, Ballarat" along bottom edge with "47" in bottom left hand corner of image.. trams, tramways, sturt st, postcards, esco, doveton st

Framed, glazed, black and white photograph of the intersection of Flinders and Swanston St Melbourne, looking towards Flinders St railway station. Timber frame, painted brown and gold, with brown paper lining on rear. Has brown string stapled at rear on both sides for hanging. In the central bottom of the rear is "Glen Waverley Picture Framing, sticker, 698 High St Road, Glen Waverley with a 7 digit phone number. Photo c1926?? features a very busy intersection cable trams (No. 17 west bound in Flinders, tram 160 north bound in Swanston, two W class trams, other cable trams, many motor cars, horse drawn vehicles, cyclist and pedestrians. Note the standing zone in Flinders St. In photo are Young and Jacksons Hotel, Bacchus Marsh Concentrated Milk table cream, and numerous signs on the railway station. See Reg Item 5272 for the photo on a Greetings Card and 5217 for a photographic print.on rear top "Donated to Hawthorn Tram Museum Feb 1912 Ron Scholten" in ink.trams, tramways, flinders st station, swanston st, flinders st, melbourne, cable trams

John Murray photographed and developed the 3 prints in 1998.The photographs depict the weathervane stolen on March 2022.3 8x10 inches glossy silver gelatin prints (Ilford Photographic Paper) depicting the weathervane on the roof of the Mission to Seafarers Melbourne in 1998. The photographs were taken on Ilford film 3200 ISO or ASA.weathervane, windvane, finial, walter richmond butler (1864–1949), john murray, mission to seafarers, seamen's mission, 717 flinders street, melbourne

MEDIUM: Photographic print. DESCRIPTION: A photograph of abstract architecture. Black outer frame with glass front panel and white board inner frame. An abstract collection of building faces meeting towards a left off centre vertical line collision point. This picture is a meeting of mirrors, how many remains a mystery. Where one mirror or building starts and another ends, to the viewers eye is met with some uncertainty. Following lines, the clearest meeting of mirrors is where the building on the left appears to be the same and collides with a variety of other buildings coming horizontally in a distinct vertical line to the top of the image. The bulidings on the right have somehow through the skill of the photographer captured a bermuda triangle of walls. The mirroring angles of the walls being from either several different buildings, or from several different mirrors. This creates a strange collecetion of imagery, the viewer unable to make clear distinctions of where something starts or ends or from where it is coming from. The tonal shades and shadows created also play a role in creating an interesting collage of shapes and lines. This piece essentially speaks of lines, angles, geometric shapes, meeting points, shadow and light. Signed and dated on white board inner frame, directly under left corner of image.photograph, st, considine, converge, collins