Showing 423 items
matching woman portrait
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Victoria Police MuseumPhotograph (Victoria Police), Police Force group photo with woman, 1920s
Black and white photograph mounted on brown frame. Formal 2 row structure portrait in front of brick building - all in sharp suit clothing. 7 men [police officers?] standing cheerfully looking to the camera. On the front row 3 men sitting and woman in the middle (perhaps office assistant).victoria police museum, police officers, police force, police woman -
Victoria Police MuseumPhotograph (Emily Mather's grave), 1892
... showing the grave site of Emily Lydia Mather with the portrait... the grave site of Emily Lydia Mather with the portrait of the woman ...Black and white photograph backed onto white backing board showing the grave site of Emily Lydia Mather with the portrait of the woman superimposed at the top left cornerMurdered by Fredk. B. Deeming 1892 (in black ink along top of photograph)frederick deeming, murders, emily mather -
Emerald Museum & Nobelius Heritage ParkPhotograph, Nightingale/Thompson Collection, (circa) 1906
inscription to Mrs Nightingale and familyThompson collectionStudio portrait, sepia photograph mounted on green card of young woman in victorian dress To Dear Mrs Nightingale and Family with very best love from Eaa? 5.10.06thompson collection, nightingale -
Orbost & District Historical Societyphotograph, 1893 - 1900
There is no information with this item. In the Bairnsdale Advertiser and Tamboon and Omeo Chronicle on Thursday August 3 1893, there is mention of a letter from Mr Harry Roberts, Marlo Road, "offering to sell the corduroy road to the council for £10, on condition that the council arranges for the exchange of the old road for one on the nothern boundary of his property.-Application to be made to the Lands department for the necessary exchange of roads to carry this proposal into effect. From the secretary for Lands, asking the council to mark the roads required in the M'Colloch on the plan,-Attended" This is likely to be the man in the photograph. This photograph seems to be associated with a very early settler in the Orbost / Marlo area. It is also a pictorial record of dress in the late 19th century.A sepia portrait photograph of a bearded man wearing a high-buttoned coat seated on a chair with a woman standing beside him on the right. The woman is wearing a long gownwith a full skirt, low at the waist. The fitted bodice is tightly buttoned and has a lace panel. Her hair is in a bun. She appears to be wearing a wedding ring. The photograph has been taken inside a studio. The photograph is mounted on card.on back - hand-written - "Mr & Mrs H. Roberts My Best Friend" front under photograph - :Vandyck Studios 3 Bourke St E Melbourne next door Gen Post Office portrait-roberts -
Flagstaff Hill Maritime Museum and VillagePhotograph - Portrait
Photograph of lady sitting in armchair. 1 of a pair. Black and white set in wood frame with glass. Possibly an original drawing. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, photograph, woman in chair -
Marysville & District Historical SocietyPhotograph (Item) - Black and white portrait, John William Lindt, 1870s
... A black and white portrait of an unknown woman taken...A black and white portrait of an unknown woman taken... portrait of an unknown woman taken by John William Lindt. A black ...A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt -
Marysville & District Historical SocietyPhotograph (Item) - Black and white portrait, John William Lindt, 1870s
... A black and white portrait of an unknown woman taken...A black and white portrait of an unknown woman taken... portrait of an unknown woman taken by John William Lindt. A black ...A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt -
Federation University Historical CollectionPamphlet, University of Ballarat Australian Studies Centre, University of Ballarat Conference Pamphlet, 12/1999
A conference in memory of Kevin Livingston to celebrate the role the Irish in Ballarat played in the formation of the nation..1) Light green tri-folded A4 pamphlet .2) Program for the 'Through Irish Eyes' Conference, A conference held in memory of Associate Professor Kevin T. Livinsgston by the University of Ballarat Australian Studies Centre, 3-5 December 1999. Speakers were: * Anne Beggs Sunter - 'irish Republican Echoes at Eureka * Jill Blee - 'Portrait of a Ballarat Irishman/woman * Dianne (Leonard) Cahir - 'The Irishness of Dunnstown * Dianne Campbell - Sir Henry Cuthbert * Dermot Clancy - Colonial Clergy - All Hallows College and the Australian Mission in the 19th Century. * Anne Cunningham - Dom bernard Smith's Australian Mission * Mella Cusack - Relations between the Young Irelanders and the Catholic Clergy in Australia * John Daykin - He that is Not With Me is Against Me: The Role of the Irish in the Defeat of conscription, Ballarat 1916-1917 * Dr Frances Devlin Glass - '[T]ouches of nature that make the world kin: Furphy, Race and Anxiety' * Helen Kinloch - Bernard O'Dowd,, and dreams of a Golden age in Australia' * Associate Professor Rederic Lacey - 'Exploring Pathways Towards reconciliation Through Encountering Our Shared Histories' * Dymphna Lonergan - 'Sounds Irish' * Dr David Lucy - ' Remarks on the Decline of Irish Language' * Patrick McCormack - The Irish Factor in the Campaign for Federation in New South Wales * Siobhan McHugh - 'In Search of Soul: One Irishwoman's Journey in Australia' * Ken Mansell * Dr Val Noone - 'the Irish in collingwood 1860-1900: Family Tree Meets historical Record * Ambassador Richard Anthony O'Brien * Terrence O'neill-FitzSimons - "Francis Thomas Cusack-Russell' * Professor Bob Reece - 'The making of the Eureka Film' * Edward O'Reilly - 'John Boyle-O'Reilly: Journeys and Monuments * Dr Chris Watson - 'Around the Boree Log and the identity of Irish Australians' * Dorothy Wickham - 'Saints or Sinners?: The Influence on Ballarat's Female refuge by Irish Women' * Christine Wright - 'A Stately Landmark: Adam Loftus Lynn .3) newspaper article on the conference from The Courier, 06/12/1999 - 'Irish Celebrate Their Role in City'Black print on light green paperaustralian studies, university of ballarat, kevin livingston, mt helen campus, "through irish eyes", jill blee, david james, rod lacey, val noone, dianne campbell, christine wright, terence o'neill-fitzsimons, helen kinloch, diane cahir, dorothy wickham, edward reilly, mella cusack, anne beggs-sunter, patrick mccormack, anne cunningham, shane carmody, dermot clancy, francis devlin-glass, chris watson, david lucy, dymphna lonergan, richard o'brien, bob reece, peter kennedy, gough whitlam, australian studies, university of ballarat, kevin livingston, mt helen campus, "through irish eyes", jill blee, david james, rod lacey, val noone, dianne campbell, christine wright, terence o'neill-fitzsimons, helen kinloch, diane cahir, dorothy wickham, edward reilly, mella cusack, anne beggs-sunter, patrick mccormack, anne cunningham, shane carmody, dermot clancy, francis devlin-glass, chris watson, david lucy, dymphna lonergan, richard o'brien, bob reece, peter kennedy, gough whitlam, genealogy, family history, irish australians, irish -
Federation University Historical CollectionPhotograph - Little Gem tintype, American Studio, Portrait of a Woman, (exact)
... Portrait of a Woman...A tintype portrait of a woman's head, attached to a card.... "American Studio, 324 Geo. St." A tintype portrait of a woman's head ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card.Printed lower left hand side of the card "American Studio, 324 Geo. St."tintype, american studio, woman, unidentified woman, women, photograph -
Federation University Historical CollectionPhotograph - Little Gem tintype, Portrait of a Woman
... Portrait of a Woman....3) A tintype portrait of a woman, attached to a card. ... women .3) A tintype portrait of a woman, attached to a card ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .3) A tintype portrait of a woman, attached to a card. little gem, tintype, woman, unidentified woman, women -
Federation University Historical CollectionPhotograph - Photograph - Little Gem tintype, American Studio, Portrait of a Woman
... Portrait of a Woman...A tintype portrait of a woman's head, attached to a card. ... St, Ballarat" A tintype portrait of a woman's head, attached ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card. Printed on the lower edge of the card "Allen & Gove, American Studion, 6 Sturt St, Ballarat"ballarat, american studio, little gem, allen gove, tintype, woman, unidentified woman, photography -
Federation University Historical CollectionPhotograph - Little Gem tintype, Portrait of a Woman in a hat
... Portrait of a Woman in a hat....9) A tintype portrait of a woman's head, attached... unidentified woman women photography .9) A tintype portrait ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a woman's head, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography -
Federation University Historical CollectionPhotograph - Little Gem tintype, Portrait of a Woman in a Hat
... Portrait of a Woman in a Hat...A tintype portrait of a woman's head and shoulders... unidentified woman women photography A tintype portrait of a woman's ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head and shoulders, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography -
Federation University Historical CollectionPhotograph - Portrait, Mary A. Fogarty
Mary Fogarty was a former student of the Ballarat School of Mines. She joined the staff as a teacher of Arts and Crafts at the Ballarat School of Mines Technical Art School. Black and white photographs of the head and shoulders of a woman. She is Mary Fogarty.ballarat school of mines, fogarty, art, women, mary a. fogarty, mary fogarty, university women -
Flagstaff Hill Maritime Museum and VillagePhotograph - Portrait, Burlington, Jane Osborne nee Shields, 1870's to 1923
This photograph of Jane Shields was taken at the Burlington Studio, Melbourne in the late 19th to early 20th century. Jane Shields became friends with Eva Carmichael in 1878, a friendship that continued throughout their lives. The item was created by layering fabric glued onto card, the the oval-cut photograph blued onto the fabric. A tea set was given by Eva Carmichael, a survivor of the ship Loch Ard which was wrecked near Port Campbell in 1878, to Jane Shields, who was the young woman who supported Eva during her recovery from the ordeal. Jane was Eva’s close companion while she was convalescing at Glenample Homestead. The friendship between the two women continued after Eva Carmichael returned to her home in Britain, became Mrs Townsend, and had three sons. Jane Shields also married, becoming Mrs John Osborne and bearing four daughters and two sons. In 1926-27, almost forty-eight years after the shipwreck, one of Jane’s daughters (Ella Marie Schulz nee Osborne) visited Eva in England. Eva gave her the tea set to take back home to her mother. Jane died in 1932 and her tea set was inherited by her daughters, who divided it between themselves, a four-piece place setting for each of them. This photograph of Jane Osborne nee Shields is significant for its connection with Eva Carmichael and the wreck of the Loch Ard in 1878. Memorabilia connected to Eva Carmichael are precious and rare. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulations of artefacts from this notable Victorian shipwreck. The collection gives a snapshot of history, enabling us to interpret the story of this tragic event and the lives of the people involved. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allow us to interpret Victoria's social and historical themes of the time. The collection's historical significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history.Photograph; studio portrait of the upper torso of a female. The photograph has been has been cut into an oval shape, glued on rectangular fabric that was already glued onto card. The woman is wearing a light-coloured jacket, white blouse and bow tie. The figure is Jane Osbourne, nee Jane Shields, a friend of Eva Carmichael. An inscription is handwritten on the matt card. Burlington, Melbourne, produced the photograph."Burlington, Melb." flagstaff hill, warrnambool, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, china tea set, tea cup, tea set, royal blue china, eva carmichael, jane shields, glenample, loch ard, place setting, eva townsend, jane osborne -
Federation University Historical CollectionPhotograph - Colour, Dr Mary Bailey
... Portrait of a woman wearing a scarf. She is Dr Mary Bailey... University Australia. mary bailey nursing Portrait of a woman wearing ...University of Ballarat is a predecessor institution of Federation University Australia. Portrait of a woman wearing a scarf. She is Dr Mary Bailey, lecturer in Nursing at the University of Ballarat.mary bailey, nursing -
Federation University Historical CollectionPhotograph, Portrait
Artwork of a man and a woman in parallel to each other.Pencil mark of 18692 on back.art,artwork, university of ballarat, man,woman, embrace, -
Flagstaff Hill Maritime Museum and VillageDecorative object - Container, 1910 to 1945
... with the portrait of an Egyptian woman within.... with the portrait of an Egyptian woman within. Decorative object Container ...A mass produced utilitarian item made for domestic decorative use. No history or manufacturing provenance currently available.The subject item at this time cannot be associated with an historical event, person or place, provenance is unknown. The item is assessed as a collection asset as it is believed to have been produced after 1910 and before 1950.Container of pressed metal. The container has a broad, thin lip, and its round body flares outwards towards base, then tapers inwards to a short heel. A loop holding a metal ring is attached to the side, near the top. A decorative geometrical transfer pattern in blue and cream covers the body and inside of the lip. In the centre of one side is a round frame with the portrait of an Egyptian woman within.warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, flower vase, decorative object, tin vase -
Federation University Historical CollectionPhotograph - Black and White: Unidentified female, Chatham-Holmes Collection:
... Photographic portrait of a woman...-holmes family collection Photographic portrait of a woman Chatham ...Photographic portrait of a womanchatham-holmes family collection -
Federation University Historical Collection
Photograph - Black and White, Review Panel for Ballarat University Status, 1993, 05/1993
... hands in front of a portrait of a woman. Left - right: Cr... hands in front of a portrait of a woman. Left - right: Cr ...The University of Ballarat was established in 1994. It later became Federation University Australia.Black and white photograph of three men. Two are shaking hands in front of a portrait of a woman. Left - right: Cr James Cogland (Mayor, City of Ballarat), Bill Gribble, Dr William Pryoruniversity of ballarat, ballarat university college, bill pryor, jams coglan, bill gribble, university establishment -
Glenelg Shire Council Cultural Collection
Photograph - Photograph - portrait of a woman, n.d
... Photograph - portrait of a woman... glasses. Photograph Photograph - portrait of a woman ...Port of Portland Authority Archivesport of portland archives, portrait photography, woman -
Glenelg Shire Council Cultural Collection
Photograph - Photograph - Maureen Harrison, Mrs R.B.Anderson and Mrs T.C. Jarrett at Theo Jarrett's Farewell, n.d
Port of Portland Authority archivesFront: (no inscriptions) Back: Maureen Harrison/ Mrs R.B.Anderson/ & Mrs T.C. Jarrett/ at Theo Jarrett's Farewell (blue pen, centre)port of portland archives, theo jarrett, retirement -
Glenelg Shire Council Cultural Collection
Photograph, n.d
Port of Portland Authority archivesFront: (no inscriptions) Back: (no inscriptions)port of portland archives -
Glenelg Shire Council Cultural Collection
Photograph, n.d
Port of Portland Authority archivesFront: (no inscriptions) Back: (no inscriptions)port of portland archives -
Glenelg Shire Council Cultural Collection
Photograph - Photograph - Maureen Harrison, Mrs R.B.Anderson and Mrs T.C. Jarrett at Theo Jarrett's Farewell, n.d
Port of Portland Authority archivesFront: (no inscriptions) Back: Maureen Harrison/ Mrs R.B.Anderson/ & Mrs T.C. Jarrett/ at Theo Jarrett's Farewell (blue pen, centre)port of portland archives -
Bendigo Historical Society Inc.Photograph - STRAUCH COLLECTION: PHOTOGRAPH ON GLASS
Head and shoulders photograph of woman in period costume on white milk glass, slightly hand tinted, costume has lace ruffle at neckline with brooch at throat, buttoned bodice with pleats, headdress with diamonties.photograph, portrait, female -
Bendigo Historical Society Inc.Photograph - GROUP PORTRAIT, MEN AND WOMEN
... PERSON Group man and woman Bendigo Sandhurst group portrait ...Sepia image mounted on board: image shows group of 8 women and 7 men, standing and sitting. Men wearing three piece suits, hats, women wearing dresses, shirts and skirts and hats ( some in hand ) Bicycles visible leaning on wall behind. Picture taken in same position as 1732.10 - connected groups ? Queens' Cycling Club ?person, group, man and woman, bendigo, sandhurst, group portrait, bicycles. -
Bendigo Historical Society Inc.Photograph - GROUP OF PEOPLE IN GARDEN SETTING
Sepia image mounted on board: two women and two men, sitting and reclining on grass . Woman on LH side dressed in long dress, leg-of-mutton sleeves, hat, other woman long dress, hat on grass in front. Men are wearing three piece suits, ties, and boaters. Written on bottom of image : Rose Herbel, A Dehne, Dora Herbel, Wm. Kileen, As we like it !person, group, group in park, sandhurst, bendigo, group portrait, 'as we like it'. -
Bendigo Historical Society Inc.Photograph - CARWARDINE COLLECTION: GROUP FEMALES, BENDIGO
Photograph.Carwardine Collection, photograph of Female group consisting of a woman with glasses standing behind 3 young girls, oval photograph mounted on card mottled look and embossed string and label pattern around letter Y.Yeoman & Co Bendigophotograph, portrait, female group -
Bendigo Historical Society Inc.Photograph - HARRIS COLLECTION: MALE PHOTO, 1888
Sepia male portrait. Stewart & Co 217 & 219 Bourke St East Melbourne printed on Front. Pencilled caption reverse Nina Dahlsen Nov 26th 1888. Printed on reverse Stewart & Co full size depiction woman painting in studio.Stewart & Co 217 & 219 Bourke St Melbourne.photograph, person, male
