The postcard image depicts a salvage team winching a Japanese midget submarine that was involed in the attack on Sydney Harbour on May 31st, 1942, out of the waters of the Sydney Harbour. The winch and salvage team are situated in front of a dock shed on a pier.On the 31st of May 1942, in the midst of World War Two, Sydney found itself under attack from three Japanese midget submarines that entered Sydney Harbour under the cover of night. The first submarine became trapped in anti-torpedo nets and the third submarine was sunk in Taylor Bay. The second submarine fired on the heavy cruiser the USS Chicago. One of the torpedoes exploded near the depot ship the HMAS Kuttabul, killing 21 sailors.Black and white rectangular postcard printed on cardReverse: 7525-5/ POST CARD/ This postcard is a/ souvenir of the Exhibition/ of Japanese Midget Sub-/ marines sunk in Sydney Har-/ bour on the night of Sunday,/ May 31st, 1942, the night/ that the first attack on/ Sydney by a foreign power/ took place and was/ frustrated./ 30th JULY 1942/ SERIAL No. 6/ The salvage part at work on a Japanese midget/ submarine/ Bringing the sub/ to the surface/military album, beechworth, burke museum, ww2, world war two, wwii, maritime, sydney harbour, sydney, japanese, japan, submarine

Taken on an unknown date, depicted is a portrait of a young, unidentified male soldier. He is dressed in an Australian military uniform. It is believed that this soldier was part of The Australian Imperial Force during World War I. This can be inferred by the chevron rank insignia visible on the uniform. The placement of this insignia on the sleeve of the right arm suggests that this soldier was either a Warrant Officer or a Non-Commissioned Officer (NCO). Specifically, the number of chevron stripes - here, there are three - are believed to signify a Sergeant ranking. The man in this photograph is also wearing a 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular postcard printed on card.Reverse: CARD / JAS.C.CRADDEN, / 182 PITT ST, SYDNEY. / Cecil Johnson / BMM2640.1 /military album, wwi, world war i, postcard, australian army, australian imperial force, aif, sergeant, warrant officer, non-commissioned officer, portrait

Taken on an unknown date, depicted is a portrait of a young, unidentified male soldier. He is dressed in an Australian military uniform. It is believed that this soldier was part of The Australian Imperial Force during World War I. This can be inferred by the 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular postcard printed on card.Reverse: BMM2640.2 / POST CARD / Write here for Inland Postage only / The Address to be written heremilitary album, wwi, world war i, australian army, australian imperial force, aif, uniform, postcard, portrait

Taken on an unknown date, depicted is a full-length portrait of a young, unidentified male soldier. He is dressed in an Australian military uniform. It is believed that this soldier was part of The Australian Imperial Force during World War I. This can be inferred by the chevron rank insignia visible on the uniform. The placement of this insignia on the sleeve of the right arm suggests that this soldier was either a Warrant Officer or a Non-Commissioned Officer (NCO). Specifically, the number of chevron stripes - here, there are two - are believed to signify a Corporal rank. The man in this photograph is also wearing a 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Black and white rectangular postcard printed on card.Reverse: Mendelssohn & Co., / Swanston St., Melbourne / POST CARD / KODAK / CORRESPONDENCE / ADDRESS ONLY / AUSTRAL / AUSTRAL / KODAK / BMM 2640.3 /military album, world war i, wwi, corporal, portrait, soldier, australian imperial force, aif, postcard, uniform

Taken on an unknown date, depicted is a portrait of a young, unidentified male soldier. He is dressed in an Australian military uniform. It is believed that this soldier was part of The Australian Imperial Force during World War I. This can be inferred by the chevron rank insignia visible on the uniform. The placement of this insignia on the sleeve of the right arm suggests that this soldier was either a Warrant Officer or a Non-Commissioned Officer (NCO). Specifically, the number of chevron stripes - here, there are two - are believed to signify a Corporal rank. The man in this photograph is also wearing a 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular postcard printed on card.Reverse: BMM 2640.4 / P RD / Write here for Inland Postage on /military album, aif, australian imperial force, corporal, war, wwi, world war i, rising sun, badge, uniform, military

Taken on an unknown date, depicted is a full-length portrait of a young, unidentified male soldier. He is dressed in an Australian military uniform. It is believed that this soldier was part of The Australian Imperial Force during World War I. This can be inferred by the 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Black and white postcard printed on card.Reverse: BMM 2640 / POST CARD / KODAK / 5 CORRESPONDENCE / ADDRESS ONLY / AUSTRAL / AUSTRAL / KODAK / R. McGEEHAN, PHOTO, 57 ELM GROVE RIPPONLEA, / EXTRA COPIES & ENLARGEMENTS OBTAINABLE. /military album, military, war, world war i, wwi, australian imperial force, aif, rising sun, uniform, portrait

Taken on an unknown date, depicted is a portrait of a young, unidentified male soldier kneeling beside a grave in a cemetery. He is dressed in an Australian military uniform. The cemetery pictured is the Arnos Vale Cemetery in Bristol, United Kingdom. There are multiple crosses marking graves in this photograph, all marked in memory of different soldiers who fought with the Australian Imperial Force (AIF) during World War I. It is believed that the soldier who is kneeling was also part of the Australian Imperial Force. This can be inferred by the chevron rank insignia visible on the uniform. The placement of this insignia on the sleeve of the right arm suggests that this soldier was either a Warrant Officer or a Non-Commissioned Officer (NCO). Another signifier of the Australian Imperial Force uniform are the three inverted chevron stripes positioned on the lower part of the left sleeve, near the wrist. These are called Good Conduct Stripes and were worn by Warrant Officers and NCOs. This patch consisted of a single chevron stripe for each year of military service meeting certain requirements of good conduct. Additionally, the man in this photograph is also wearing a 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force. Furthermore, the grave that this unidentified soldier is kneeling next to is the resting place of Private John James (J. J.) Simpson. He was born in Stanley, Victoria in 1883. He enlisted in the Australian Imperial Force in Melbourne, Victoria on 12 July, 1915, with the service number 4909. John James Simpson was then posted to the 60th Company Depot at Seymour for military recruit training. John James Simpson was reported wounded in action in France on 19 July, 1916. He was admitted to 13th General Hospital, France with gunshot wounds to his legs. From Boulogne, France, he traveled to the United Kingdom aboard the Hospital Ship 'St. Denis' for medical care. Upon arrival, he was admitted to 2nd Southern General Hospital, Bristol, England on 27 July, 1916. John James Simpson passed away from his wounds on 1 August, 1916. He was 33 years old.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular photograph printed on matte photographic paper mounted on card.Obverse: A.I.F. / AUSTRALIA / 441, PTE.T. / T (?) / 26B (?) / 6.1.17 / (?) / LANGTON RD. / ST. ANNES PK. / BRISTOL / A.I.F. / AUSTRALIA. / 708, GNR B.L.CRAWFORD. / FR / 5 D.A.C. / 13.2.17 / A.I.F. / AUSTRALIA. / 4481, P (?) D.MORRIS. / (?) / 31.12.(?) / A.I.F. / AUSTRALIA. / 4909, PTE J.J.SIMPSON. / 608(?) / 1.8.16 / Winchester / LANGTON RD. / ST. ANNES PK / BRISTOL / Reverse: 2641 /military album, military, war, world war i, wwi, australian imperial force, aif, j. j. simpson, uniform, cemetery

One of a collection of Photographs/Postcards in a album donated by Bernard Grayden.Small black + white postcard. Image includes man in shirt and jacket standing at cave entrance, with ocean front in background."Forest Caves, Phillip I." Valentine Series No. 36forrest caves phillip island, bernard grayden, early postcards

One of a collection in an album donated by Bernard GraydenColoured Postcard of a Chicory Kiln on Phillip IslandOn Back: "Phillip Island, Victoria" "chicory is one of the Island's numerous crops; this scene shows a chicory kiln.chicory kiln, phillip island, bernard grayden, postcards

This six-postcard group is the second in a series of records of items in the collection of Edgar Dawson DCM. Dawson was the Regimental Sergeant Major of 57th Battalion, AIF. The 57th had a company of men largely from Bendigo and Eaglehawk. These postcards are from his personal album. Many are annotated in Dawson's hand with explanatory notes on the subject. Refer to Cat No 893 for his service details. Items originally in album cat. no. 207P Service details available through the NAA. Collection of six black and white postcards: 1. Photographic portrait from left William George Saville 4182, Alexander Pollock 3587 57th Btn, and unidentified trooper, possible 4th Light Horse Regiment. 2. Photographic portrait of Light Horse trooper. 3. Photographic portrait of William Tamlyn Curnow, 5078, 57th Btn 4. Photographic portrait of "Jim", 5. Photographic portrait of Septimus Fletcher, 4485, 57th Btn 6. Photographic portrait of Robert Gamble, 4644, 57th Btn 2. Card is addressed to "1904 L.Cpl W.W. Martin, D Cpy 57th Batt". Martin was 2150, KIA 26th September 1917. 3. On front "Sincerely, W. T. Curnow". On verso, "To Hec, from his old pal Curnow Sgt" 'Hec' was Dawson's nickname. 4. On front "Yours sincerely Jim". On verso, card addressed "350 Pte Melen, R. C., 15th Field Ambulance, via Manners St Maryborough Victoria" The 15th Field Ambulance Cpy, supported the 57th and other battalions of the 15th Brigade. 5. On verso "This is an Eaglehawk boy Septimus Fletcher, he came over with me and was with us a long time, but is on Division now" 6. On verso "This is our signal Cpl wearing his military medal for keeping communication at Bullecourt". Gamble won the MM for his actions 13th May 1917.57th battalion, postcards, album dawson dcm, edgar dawson dcm

This album contains a collection of family photos, greeting cards and hand drawn floral emblems. Among the photographs are two which have details on them: a young girl named Margaret Clarke aged 8 1870 and another of Charles Alexander Clarke. The photographers are from many places including Britain, Melbourne, Portland and a number by Daniel Clarke of Warrnambool. Daniel Clarke was one of Warrnambool’s more important photographers, operating a business for thirty years in the town. He also worked as an artist and taught art in local schools. He painted a number of versions of Tower Hill. He died in 1918 at the age of 91.This album shows a collection of photographs and cards which were important to families in the later part of the 19th century. It has artistic and historical significance, with the photographs in particular depicting many different styles of clothing and household details of the time. Brown leather with a figured pattern and gold detail. Bent metal clasp Back cover in cross-hatched pattern. Spine has 5 horizontal lines. Edges of pages are edged in gold. Pale grey water wave patterned paper inside front and back covers. Pages inside are varied with some having coloured floral embellishments while others have pockets to hold from 1 to 4 photographs or card. One photograph of young boy has Charles Alexander Clarke written on bottom in black pen. A card with illustration of honeysuckle on front, has With Love to Mrs. Smith from Isabel,warrnambool, history of warrnambool, margaret clarke aged 8 1870, charles alexander clarke 1870, daniel clarke photographer

This album shows a collection of photographs some of which are labelled as Munster Services Club. Some show the Bookshop at the TOC H building. There are photos of soldiers in parade drills and in training exercises as well as social events. One is labelled D Craven & Rab, Munster 1954. Another is labelled London bus 2 RTR Munster. The 2 RTR was a tank regiment in the British Army and was stationed at the Swinton Barracks in Munster from 1952-1959. There are also a number of loose photos showing local scenes such as London Bridge and Needle Rock at Childers Cove. Others depict floats in a parade showing Peace Woollen Mill. Others are small postcards of MaryBorough and Brisbane Queensland. There is also a photograph of the Nestanglo basketball team, Victorian champions circa 1940’s. This collection of photographs has limited local relevance as there is limited provenance. However it depicts quite well the activities of the RTR and their activities in Munster in the post WW era.Brown and fawn snake skin patterned card cover with fawn cord binding. Photographs written in gold on front cover. Pages are brown card. Photographs are black and white.Munster Services Club.warrnambool, swinton barracks munster, munster services club 1952-1959, 2rtr munster

This album contains a number of local coastal and seascapes including Thunder Point, views of local streets such as Liebig and Fairy streets, panorama views of the town from Manse Hill and Booval Hill and the Botanic Gardens. Buildings included are Cramond and Dickson, St Joseph’s Church, the saleyards. The book itself would have been used by patrons of the Western Hotel when J Fox was licensee, from 1880 until 1887. The hotel had been operating since 1870 when William O’Brien applied for a publican’s license for the house on the corner of Timor and Kepler Streets with five sitting rooms and eight bedrooms. The stone building was designed by Andrew Kerr and built by Williams & Co. The Western Hotel was also the booking office for Cobb and Co Coaches which operated until the railway came to town in 1890. This album has historical significance on different levels. Firstly the photographs provide a view of Warrnambool in the late 19th century. The photos are aesthetically and artistically significant. Many of the buildings in the streetscapes are still recognizable. Secondly the Western Hotel has occupied a prominent site within the CBD for nearly 150 years. It has links to Cobb & Co, an important part of early Australian transport. Large hard covered album. Dark green cover with title in red rectangle on front cover. Text in gold lettering. A variety of photographs mounted on card.Chuck Photo Ballarat on front cover. Small cutting pasted inside front cover, reads as follows,” Will and Estates. Joseph Fox, late of Grosvenor Street, Balaclava who died on 29th July by his will of 11th August 1915 left 3737pounds real estate and 2342 pounds personality to relatives. warrnambool, warrnambool history, warrnambool photographs of the past, western hotel photographs

After World War II, the Kiewa Hydro-Electric Scheme was started in the Kiewa River Valley by the State Electricity Commission of Victoria. On land previously used only for summer cattle grazing in the natural alpine grasslands, the first ski lodge was built in 1948 by workers from the hydro scheme as skiing was a popular recreation. Many of the hydro employees were of European background and had grown up enjoying skiing and snow sports in their homelands and were keen to continue to pursue their winter sports interests. The first lift, a rope tow, was built at Falls Creek in 1951 and the first chairlift in Australia was constructed there in 1957. Two T-Bars were opened in 1961. In 1964, the Victorian Municipal Directory recorded that Falls Creek had 29 ski club lodges and 16 commercial lodges. The area became a popular tourist destination for both winter and summer sports.Employees of the State Electricity Commission of Victoria in the Kiewa River Valley were the earliest skiers on the Bogong High Plains and built one of the first ski lodges at Falls Creek. They were amongst those pivotal in the development of the skiing and tourist industry at Falls Creek and on the Bogong High Plains. Black and white photographs of varying sizes mounted decoratively on heavy black Card. Some pages display a brief description printed in white ink 1. 4 photographs- displayed diagonally across page. 2 pictures of a group of men standing in the snow in front of a car with a loaded trailer behind. 1 photo of skiers. 1 photo of show hanging in tree branches. 2. 2 photographs- showing Upper Kiewa Road with snow in the background 3. 3 photographs- of skiers and 1 photo of 2 of men posing in the snow & 1 photo of 2 men posing shirtless in warmer weather. 4. 2 photographs- arranged diagonally on page showing early buildings and construction at Bogong Village 5. 2 photographs- 1 showing view of Bogong Village from higher up the mountain. 1 showing early Bogong High Plains road 6. 1 photograph- showing view down along Kiewa Valley from higher up in the mountains 1. Handwritten in white ink – A TRIP TO THE PLAINS 2. Handwritten in white ink – UPPER KIEWA ROAD MT FAINTER IN BACKGROUND 3 – 6. No markings bogong village; upper kiewa road; bogong high plains; falls creek; skiers

This album contains photographs of many local and beach scenes such as view over Warrnambool, Botanic Gardens, Hopkins River and Bridge, Warrnambool railway station, Proudfoots, Thunder Point, Christ Church and the War Memorial. There are a couple of photographs of groups of people picnicking on the main beach. The newspaper cutting showing firemen dousing the last of the flames of the fire has onlookers including four children in the foreground. The Ozone Coffee Palace was built in 1890-1891 and burnt down February23, 1929. It was one of the largest fires in Warrnambool It was designed by Mr J McLeod. It was grand in design and decoration. The term Coffee Palace was used to describe temperance hotels which were built during the 1880’s -1890’s. They typically were multi-purpose and had a large number of rooms for ballrooms and leisure activities. Coffee palaces were aimed at families in coastal areas and inner city locations. Examples of some are The Windsor Hotel Melbourne, Ozone, Queenscliff and Kilbreda Convent in Mentone. This album has social and historical significance as it shows a collection of local scenes which is a record of familiar scenes such as the gardens, Hopkins River and beach scenes. The groups of people are unknown but the images provide a snapshot of customs and costumes of the early 1920’s.Khaki coloured soft card tied with a dark green cord which has broken and has been replaced with yellow string. There is an embossing of a lion/dragon on front cover with ribbons. 20 pages with photographs glued to most. A cutting relating to the fire at the Ozone mansions is inside the front cover.warrnambool history, early warrnambool photographs, ozone coffee palace

This album contains cigarette cards dating from the early 20th Century. The cards include Australian and English cricketers, Australian footballers, animals, racehorses, ships, Pacific Islanders, jockeys, actors and other famous people. The cards come from a variety of Australian and English cigarette companies. The album comes from the Edwards family who lived on the MORVEN property situated about 11 kilometres west of Branxholme in the Western District of Victoria. This property was sub divided in 1911 into 25 farms. There was once a Morven School and today there is a road of that name in the area.. This album is of considerable significance as it has historical value as an early collection of cigarette cards. Collecting of cigarette cards was a major social activity amongst young people, particularly in the first half of the 20th Century. It was a profitable advertising ploy for cigarette companies. Card and small object collecting by children today is still popular and used as an advertising mechanism. This album has a worn cover in faded green and fawn colours with a blue spine almost wholly detached. The back cover is stained. The cover has text. There are eighteen double sided pages with cut spaces for holding seven cigarette cards on each. Most of the pages contain black and white, sepia or coloured cigarette cards. There is an inscription on the first page.To Bennie from Auntie Lou. Xmas 1908cigarette cards, morven, edwards family morven, album

The 120 cards in these two albums are very varied in content. There are many of birds and animals, some of great artwork reproductions, some of famous places and buildings, a couple of V.F.L. footballers, two from the Melbourne Olympic Games, some matching pairs and a couple of Australian aboriginal art work. They are all of high quality and many are very beautiful. Swap card collecting was a popular activity for young girls throughout the 20th century and cards were swapped with friends and sometimes sold. Usually the cards, bought from newsagents and fancy goods shops, were kept loose in a school bag or pocket and so the number of cards and the type varied from week to week. Boys also often saved cards of a particular nature – sports cards, nature cards etc though the idea of ‘swapping’ was not so prevalent among the boys. Card collecting, usually promoted by a business concern or a toy company, is still a pastime for young people today. The cards in these two albums are of considerable interest as they are of good quality and are aesthetically pleasing. They also are good examples of a popular hobby of girls in the 20th century. .1 & .2 These two albums are similar in size and design. Both have grey/pale green covers with red printing on the front cover. Both are bound with two staples and both contain 10 pages with inserts to hold three cards each side of the page. The inserts are edged with a green decoration. Both albums contain 60 coloured cards. There is evidence of silverfish damage on the front covers of both albums. hobbies of the past, history of warrnambool

Photographer: T. Butler, Yan Yean CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 19911869, jean shillinglaw (nee blemner 1819-1906), marg ball collection, shillinglaw family photo album 1, t. butler photographer yan yean

Photographer: A.W. Burman, Artist Photographer, 209 Bourke Street East, Melbourne According to Sands & McDougall Melbourne Directory, Arthur W. Burman was active 209 Bourke St East, Melbourne from 1878 to circa 1885-1890 Sarah’s hairstyle is late 1870s/early 1880s . The children could possibly be Sarah Ann Shillinglaw (1873-1878) and Caroline Shillinglaw (1876-1956) which would date the photo early 1878 or Caroline Shillinglaw (1876-1956) and William Shillinglaw (1877-1891) which would date the photo early 1879 as Sarah was pregnant with Elizabeth Ann Shillinglaw who was born Aug 1879.. Daughter Jane Shillinglaw (1876-1876) had died prior to the date of this image. CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 19911878-1885, 1879, a.w. burman photographer 209 bourke st east, marg ball collection, phillip shillinglaw (1842-1914), sarah ann shillinglaw (1873-1878), sarah ann shillinglaw (nee kidd) (1850-1891), shillinglaw family photo album 1

Photographer: American and Australian Photographic Company, 57 Bourke St East, Melbourne According to Sands & McDougall Melbourne Directory, the American and Australian Photographic Company was active at 57 Bourke St East, Melbourne from 1871-1876 CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 19911875, american & australian photographic company 57 bourke st east melbourne, jean shillinglaw (nee blemner 1819-1906), marg ball collection, shillinglaw family photo album 1, 1871-1876

Possibly photographed shortly before marriage to Charles Edward Aldous in June 1880. Sarah is not wearing a ring in this image. (Duplicate copy in Album 2 (05664) Photographer: A.W. Burman, Artist Photographer, 209 Bourke Street East, Melbourne According to Sands & McDougall Melbourne Directory, Arthur W. Burman was active 209 Bourke St East, Melbourne from 1878 to circa 1885-1890 Sarah’s hairstyle is late 1870s/early 1880s . The children could possibly be Sarah Ann Shillinglaw (1873-1878) and Caroline Shillinglaw (1876-1956) which would date the photo early 1878 or Caroline Shillinglaw (1876-1956) and William Shillinglaw (1877-1891) which would date the photo early 1879 as Sarah was pregnant with Elizabeth Ann Shillinglaw who was born Aug 1879.. Daughter Jane Shillinglaw (1876-1876) had died prior to the date of this image. CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991a.w. burman photographer 209 bourke st east, marg ball collection, shillinglaw family photo album 1, 1878-1885, 1880, sarah aldous (nee shillinglaw 1854-1925)

Seasons Greetings photo card sent by Elizabeth Docherty to her sister Carrie. Inscribed on reverse "Carrie" and stamped "American Photo Coy. Queen St, Petrie's Bight, Brisbane"1910, american photo coy queen st petries bight brisbane, greeting card, marg ball collection, shillinglaw family photo album 1, straw boater, elizabeth docherty (nee shillinglaw 1861-1942)

Seasons Greetings photo card sent by Elizabeth Docherty to her brother Phillip. Inscribed on reverse "Phillip" and stamped "American Photo Coy. Queen St, Petrie's Bight, Brisbane"1910, american photo coy queen st petries bight brisbane, greeting card, marg ball collection, shillinglaw family photo album 1, straw boater, elizabeth docherty (nee shillinglaw 1861-1942)

William James Sommerville (b.1856) married Jane Shillinglaw at Hawthorn, Victoria, June 2, 1887. He was ten years Jane's junior. It is possible that this may be a carte-de-visite of William presented by him to Jane during their courtship as it is dated at least two years prior to their marriage. According to Sands & McDougall Melbourne Directory, Burman's were operating from 209 Bourke St. East and St George's Hall (73 Bourke St. East) from 1879-1885 CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 19911879-1885, 1885, burman's photographer 209 bourke st east and st georges hall melbourne, marg ball collection, shillinglaw family photo album 1, unknown, william james sommerville

Jane Shillinglaw was born at Merri Creek, Victoria, June 14, 1846. She had a son, Joseph Shillinglaw (1863-1865) with an unknown partner. Joseph died as a toddler. She subsequently had a second child, a duaghter, Jane Davidson born 1870 She married William James Sommerville, ten years her junior at hawthorn on June 2, 1887. Jane died at Balwyn, Victoria on June 26, 1893. According to Sands & McDougall Melbourne Directory, Burman's were operating from 209 Bourke St. East and St George's Hall (73 Bourke St. East) from 1879-1885 CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 1, 1879-1885, 1880, burman's photographer 209 bourke st east and st georges hall melbourne, jane sommerville (nee shillinglaw 1846-1893), unknown

According to Sands & McDougall Melbourne Directory, Burman's were operating from 209 Bourke St. East and St George's Hall (73 Bourke St. East) from 1879-1885 CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 1, 1879-1885, 1880, burman's photographer 209 bourke st east and st georges hall melbourne, unknown, female shillinglaw 9

Samuel Shillinglaw was born at Merri Creek, Victoria, September 27, 1848. He married Agnes McIntosh at Windsor, January 9, 1878 and died at Prahran, September 13, 1925. Photographer Charles Rudd took over from W. Bear on the west side of Chapel Street, Prahan and was in business at this location from 1871-1872 (Sands McDougall Melbourne Directory) A duplicate photo is contained in Album 2 (05664) CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 1, 1871, 1871-1872, c. rudd & co photographers chapel street prahran, samuel shillinglaw (1848-1925)

Photographer Ezra Goulter operated from 23 Chapel St. Prahran between 1878-1890 A duplicate photo is contained in Album 2 (05664) CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 1, 1878-1890, goulter photographer chapel st prahan, male shillinglaw 7, unknown, 1885

Famous Swiss landcape painter Louis Buvelot came to Melbourne in 1864 and set up a portrait photography studio which he operated for one year only in 1865. This photograph is believed to be the oldest photo in the Shillinglaw Family Album collection. It is believed that the subject is a young Phillip Shillinglaw, without beard, at age 22 or 23. Phillip Shillinglaw was born Melbourne, August 7, 1842. He married Sarah Ann Kidd in Heidelberg, Victoria, February 28, 1872. In 1881 Phillip and Sarah and their small family moved to Eltham and made home in what was later to become known as Shillinglaw Cottage but which Phillip named 'Wattle Brae'. Shillinglaw Cottage is significant to Eltham’s local history. It is one of the earliest known buildings still in existence. Records suggest that the cottage was built circa 1859 by a man named Cochrane, believed to be Thomas Cochrane, in conjunction with George Stebbings though it is not known what Stebbings’s contribution was. It is believed Stebbings owned the cottage between 1874 and 1888. According to Margaret Ball’s (2017) book Shillinglaw Family of Eltham 1660-2007, Thomas Cochrane and family lived there from 1867 to 1874 however this is contrary to the records of assessable rates levied by the Eltham District Road Board, established in 1858, which shows Cochrane was the owner occupier (in Little Eltham) of approximately 25 acres of cultivated land and 25 acres of pastureland upon which a hut was sited in 1860. It is suspected that George Stebbings may have acquired the property from Cochrane in 1874 as it is noted that he had a tenant for a period, James Rossiter, who was the editor for the Evelyn Observer in Kangaroo Ground in 1874 (LATE SHIRE OFFICE AT KANGAROO GROUND (1934, February 16). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 5. Retrieved February 25, 2022, from http://nla.gov.au/nla.news-article56743657). In 1881 Phillip Shillinglaw became the ratepayer for the cottage though Stebbings retained ownership until 1888 at which time it was transferred to Shillinglaw. Photographer: Louis Buvelot Swiss landscape painter and portrait photographer, settled in Melbourne in 1864, admired by the artists from the Heidelberg area such as Tom Roberts and Arthur Streeton who bestowed him with the accolade of 'Father of Australian painting’. In the 1870s, his work increasingly drew elements from Australian landscape such as the bush land in works like Lilydale (1878) and Bush Track. "Louis Buvelot :: biography at :: at Design and Art Australia Online." Daao https://www.daao.org.au/bio/louis-buvelot/biography/. Accessed 9 Mar. 2023. On arriving in Melbourne in February 1865 Buvelot bought a photographer's studio at 92 Bourke Street East and took portraits for a year. In 1866 he moved to 88 La Trobe Street East and resumed his painting while Caroline-Julie gave French lessons to help Buvelot to establish himself as an artist in Melbourne. "Biography - Abram-Louis Buvelot." Australian Dictionary of Biography https://adb.anu.edu.au/biography/buvelot-abramlouis-3132. Accessed 2 Dec. 2022. CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 1, 1865, l. buvelot photographer, louis buvelot, phillip shillinglaw (1842-1914), unknown

Photographer: Richards & Co. Portrait Parlours operated from 19 Sturt Street, Ballarat from 1881-1921 but with "Under Royal Patronage" appears to be 1881-1885. Phillip Shillinglaw was born Melbourne, August 7, 1842. He married Sarah Ann Kidd in Heidelberg, Victoria, February 28, 1872. In 1881 Phillip and Sarah and their small family moved to Eltham and made home in what was later to become known as Shillinglaw Cottage but which Phillip named 'Wattle Brae'. Shillinglaw Cottage is significant to Eltham’s local history. It is one of the earliest known buildings still in existence. Records suggest that the cottage was built circa 1859 by a man named Cochrane, believed to be Thomas Cochrane, in conjunction with George Stebbings though it is not known what Stebbings’s contribution was. It is believed Stebbings owned the cottage between 1874 and 1888. According to Margaret Ball’s (2017) book Shillinglaw Family of Eltham 1660-2007, Thomas Cochrane and family lived there from 1867 to 1874 however this is contrary to the records of assessable rates levied by the Eltham District Road Board, established in 1858, which shows Cochrane was the owner occupier (in Little Eltham) of approximately 25 acres of cultivated land and 25 acres of pastureland upon which a hut was sited in 1860. It is suspected that George Stebbings may have acquired the property from Cochrane in 1874 as it is noted that he had a tenant for a period, James Rossiter, who was the editor for the Evelyn Observer in Kangaroo Ground in 1874 (LATE SHIRE OFFICE AT KANGAROO GROUND (1934, February 16). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 5. Retrieved February 25, 2022, from http://nla.gov.au/nla.news-article56743657). In 1881 Phillip Shillinglaw became the ratepayer for the cottage though Stebbings retained ownership until 1888 at which time it was transferred to Shillinglaw. CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 1, phillip shillinglaw (1842-1914), 1881-1885, 1885, richards & co. photographers 19 sturt st ballarat