A colour photograph of The Log Cabin in Marysville in Victoria.A colour photograph of The Log Cabin in Marysville in Victoria. The Log Cabin was built by Thomas Henry Branchflower who had arrived from England late in 1921. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist.the log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, photograph

A colour photograph of The Log Cabin in Marysville in Victoria.A colour photograph of The Log Cabin in Marysville in Victoria. The Log Cabin was built by Thomas Henry Branchflower who had arrived from England late in 1921. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist.the log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, photograph

A colour photograph of The Log Cabin in Marysville in Victoria.A colour photograph of The Log Cabin in Marysville in Victoria. The Log Cabin was built by Thomas Henry Branchflower who had arrived from England late in 1921. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist.Log Cabin 2008/ Marysvillethe log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, photograph

A colour photograph of The Log Cabin in Marysville in Victoria.A colour photograph of The Log Cabin in Marysville in Victoria. The Log Cabin was built by Thomas Henry Branchflower who had arrived from England late in 1921. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist. The Log Cabin, along with most of the buildings in Marysville, was destroyed in the 2009 Black Saturday bushfires.Log Cabin/ Marysville/ Feb 2009the log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, photograph, 2009, 2009 black saturday bushfires

A digital copy of a colour photograph of The Log Cabin in Marysville in Victoria.A digital copy of a colour photograph of The Log Cabin in Marysville in Victoria. The Log Cabin was built by Thomas Henry Branchflower who had arrived from England late in 1921. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist.the log cabin, marysville, victoria, thomas henry branchflower, gerald branchflower, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, photograph

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man 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

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man 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

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

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

A letter written to Maurice Keppel by John William Lindt in 1903.A letter written to Maurice Keppel by John William Lindt in 1903. 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. Maurice Keppel, from Ireland, was one of the first landholders in the newly surveyed town of Marysville in 1864. He and his wife ran the successful Keppel’s Australian Hotel. Two of their sons, John and Jerry, established a farm and opened up the surrounding high country. The Keppel lease was one of the longest held in the high country and the Keppel Family were amongst Marysville's pioneering families.maurice keppel, keppel family, keppel's australian hotel, marysville, victoria, john william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

This page of photographs is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. First 2 images: milkbar and residence corner Kambrook and Balaclava Roads ie south west corner - building named Airdrie 3rd image: https://vhd.heritagecouncil.vic.gov.au/places/43737 - re 26 Kambrook Road and 345 Balaclava Road corner building ie south east corner: A prominently situated two-storeyed complex of late Victorian buildings consisting of "Wybar's Buildings" occupying the Balaclava Road/ Kambrook Road corner and the "Caulfield Bakery" facing Kambrook Road, separated by a driveway from a single storeyed shop. The main building has a comer splay and balustraded parapet with curved pediments, the words "Wybar's Buildings 1887" having been obliterated but "Caulfield Bakery 1887" with the characteristic wheatsheaf surviving in raised cement work. The walls are stuccoed and richly ornamented with bracketed cornices and keystones with masks extending to the Bakery. The main building is further distinguished by the Masonic symbol of the mason's dividers in the pediment whilst the upper level of the bakery is in overpainted brickwork. The single storeyed shop incorporates the bracketed cornice and consoles characteristic of the main buildings and is in other respects a utilitarian structure. 4th image: https://vhd.heritagecouncil.vic.gov.au/places/42415 (on 24/01/2021) - 196 Kambrook Road An imposing late Victorian poly-chrome brick asymmetrical villa with corner verandah and projecting west facing wing with faceted window bay to the facade. Body bricks are red and relieved by cream and black brick banding and by cream bricks to the bracketed eaves. The fretted barge with king post treatment and timber posted verandah are unique in the Municipality and unusual in the metropolitan area and demonstrate an understated appreciation of the emerging Queen Anne mode.345 Balaclava and 26 Kambrook Roads HO91 - City of Glen Eira https://vhd.heritagecouncil.vic.gov.au/places/43737 (on 24/01/2021) "Wybar's Buildings" at the corner of Balaclava Road and Kambrook Road are important as a prominent late Victorian commercial development incorporating a variety of activities including a bakery and possibly a coffee palace, the latter understood to be unique within the municipality, but characteristic of the period. It is a rare complex of its type in Caulfield and is important also as evocative evidence of the late Victorian Land Boom and the creation of a small now defunct commercial centre at this location by the George Wybrow. 196 Kambrook Road HO122 - City of Glen Eira https://vhd.heritagecouncil.vic.gov.au/places/42415 "Glencoe" is situated at no. 196 Kambrook Road, Caulfield North and was built for the boot manufacturer, Robert Bruce Mair, in 1888. It is of historic and aesthetic significance. It is historically significant (Criterion A) as the home of an inner suburban industrialist, notable a boot manufacturer, demonstrating the attraction of Caulfield as a residential location for the manufacturers of the metropolis during the late Victorian Boom period. It is aesthetically significant (Criterion E) as a very early example of a Queen Anne influenced late Victorian villa, comparing at the State level with ''Woodlands'' (1888), North Essendon, generally acknowledged to be one of Australia's earliest houses to fully exploit this emerging style. The ornamental timberwork is especially expressive of the new architectural fashion and compares with the house at 33 Clarence Street, Elsternwick (1888-89).Page 105 of Photograph Album with two photographs of a milk bar and attached residence, one older photograph of Wybar's Building and another photograph of a house on Kambrook Road (all are landscape).Handwritten: 196 KAMBROOK ROAD / 1970 - GAFFNEY MRS S.M. [under bottom right photo] / 100 [bottom left]trevor hart, kambrook road, victorian style, caulfield north, parapets, wybar's buildings 1887, caulfield bakery 1887, architectural features, painted bricks, balaclava road, george wybrow, shops, milk bars, airdrie, polychrome bricks, verandahs, queen anne architectural style, houses, glencoe, robert mair

Printed obituary with black and white photo of Edward Clarence Dyason. He was born in Bendigo in 1886, the son of Isaac Dyason who was the financial and property manager for George Lansell. After World Was 2, he settled in England. He represented Australia at the British Commonwealth Relations Conference in Canada, on the way back to England he died at sea on 3 October 1949. Printed article mounted on yellow card which is mounted on purple card and laminated.bendigo, history, long gully history group, the long gully history group - edward clarence dyason, isaac dyason, george lansell, st andrew's college bendigo, melbourne university, bendigo amalgamated goldfield company (b. a. g.), chamber of mines, gold producers association, bendigo mines limited (b.m.l.), league of nations, australian institute for international affairs, melbourne symphony orchestra, british commonwealth relations conference

Mining Records All contained in a metal Box with separate cataloging leaves. Shareholder details of various mines such as Monument Hill, Golden Carsharlton, Napoleans Reef, East Clarence, Deborah United, Central Napolean.cottage, miners

Collection McColl,Rankin,Stanistreet. Cast iron hand press company seal for the East Clarence Gold Mining Company, used to seal all official documents pertaining to the East Clarence Gold Mining Company. Black enamelled body and handle with brass seal, written in white paint E.Clarance.commerce, office equipment, company seal

'LYDIA CHANCELLOR COLLECTION ' -BOOK - AN A.B.C. OF ENGLISH USAGE - H.A.TREBLE & G.H. VALLINS/ Hard bound blue covered book with gold lettering / white paper dust cover / price 2 shillings and six pence / Oxford at the Clarence Press 1936.book, lydia chancellor collection, collection, book - an a.b.c. of english usage - h.a.treble & g.h. vallins / oxford at the clarence press 1936, etymology, words, english, dictionary, dictionaries

Black and white photo of group of children sitting outside school building. Children in four rows, front child holding sign ' Golden Square School, Grade II, 1923. On back in handwriting: top row, left to right, Alf Bowland, Jack Lynch, Leonard Wagstaff, Bill Smith, Alf Curruthers, Eric Davidson, Everard Masters, Clarence White, Alan Chisholm. 2nd. Row: Frank Evans, Lyle Hall, Alex Miller, Rupert Holland, Alan Shepperhottom, Stan Matthews, Dave Rowe, Charlie Pocock, Victor Nancarrow 3rd. Row, Winnie Pocock, Doris Friswell, Elva Knitght, Irene Matthews, May Jones, Dorothy Jacobs, Malvina Stott, Lorna Tope, Edna Hisfer ? , Lorraine Phillips. Bottom row, Joyce O'Brien, Dulcie Fone, Vivien Lonsdale, Dorothy Firs.bendigo, education, golden square primary school, 1923

Green printed and handwritten receipt for 100 shares in Clarence United on 22/6/1894. Bought from Mr. M. Kelly, total value of £81/17/6. Signed James Taylor per John Taylor.business, stockbroker, kelly & allsop, kelly & allsop collection - receipt for shares in clarence united, james taylor, m kelly, clarence united, john taylor, brockley

Copy of an article from the Bendigo Advertiser 12/5/1906. A miner, Henry Roberts was killed by the fall of a large piece of sandstone which fell with no warning. The shift boss, James H Evely, had passed under the stone a minute before it fell and saw no signs of danger.bendigo, history, long gully history group, the long gully history group - mining fatality at hercules and energetic mine, bendigo advertiser 12/5/1906, henry roberts, samuel knight, wm nankervis, joseph roberts, dr cowen, w abraham, james h evely, clarence united mine, united devonshire mine, miners' association, eaglehawk branch of the a.n.a., robert roberts

Sepia photo of mine workers outside Clarence United Mine Bendigo, mounted on white board ~70 Males. In Image on board in front of men 'Clarence United 4/8/02'. On Back Inscription: 'Clarence United 1902' Miss S Stephens Peg Leg Rd Eaglehawkplace, mining site, clarence united mine bendigo

Black and while photograph of Clarence United Mine, Sailor's Gully Road, Eaglehawk. Poppet head beside settling pond. Large building to left. James Lerk 20 July, 2000.place, laneway, clarence unite mine.

One page document detailing the formation of the A1 Mining Company in 28.8.1918. Company formed by Melbourne investors. Capital of 50,000 pounds in 100,000 shares at 10/- each. Included the Clarence, New Moon and Suffolk on the Garden Gully line. A1 purchased the winding plant at the New Moon and the winch plant at the Clark and Neanger shafts. Clarence, North Argus, Suffolk and New Moon south and east shafts remain the property of the companies.bendigo, mining, a1 gold mine

One page document titled ' Secretary for Mine's Report for 1911, Deep Mines page 24. List of mines and depths, The Victoria Quartz 4614 feet, New Chum Railway 4318 feet, Lazarus New Chum 3682 feet, New Chum and Victoria 3579 feet, North Johnson's 3498 feet, Carlisle 3460 feet, Lansell's 180 3365 feet, Clarence 3310 feet, Great Extended Hustlers 3290 feet, Ironbark 3250 feet, Victoria Consols 3114 feet, New Chum Consolidated 3099 feet, Eureka Extended3060 feet, Princess Dagmar 3020 feet, Johnsons Reef No 2 2020 feet.bendigo, mining, deep mines on the field

Town Hall, Eaglehawk. Wednesday, June 4th, 1902 Grand High Class and Humourus Concert in aid of the widow and family of the late Mr. W.H. Grey, who was killed in the Clarence Mine recently.program, theatre, concert

Book; Hard cover with paper pages listing shares held by shareholders and funds distributed. 1. South Deborah G.M. N.L. - 1st & final distribution. 2. Monument Hill Cons. N.L. 1st & final distribution. 3. Napoleon Reef G.M. N.L. 1st & final distribution. 4. South Wattle Gully Co. N.L. 1st 7 final distribution. 5. East Clarence G.M. Co. N.L. 1st 7 final distribution. 6. Golden Carshalton G.M. N.L. 1st 7 final distribution. 7. South Nell Gwynne G. M. N.L. 1st 7 final distribution. 8. North Virginia G.M. N.L. 1st 7 final distribution. 9. Central Napoleon G.M. N.L. 1st & final distribution. 10. Red White & Blue Extended G.M. N.L. 1st & final distribution. 11. South Costerfield Antimony G.M. Co. N.L. 1st & final distribution. Graphic Analysis Book 13 Sets on front cover.MCCOLL RANKIN & STANISTREETorganisation, industry, shares, mccoll rankin & stanistreet

Documents. Connelly, Tatchell & Dunlop - Legal Papers. 1 - 1886 - Letter from Jenkins & Barger, General Blacksmiths, Horse-Shoers & Agricultural Implement Makers, Leichardt and Bridgewater re McClean. 2 - 1886 - Letter from D Hughes re Adams & Maxwell?. 3 - 1886 - Letter from Crawford W H, 28;7 Clarence St, Sydney. 4 - 1886 - Post Office Telegraph from Portland re McKay. 5 - 1886 - Letter from The London Chartered Bank of Australia re Barwick J. 6 - 1886 - Letter from Bray R J, 19 Lily Street, Sandhurst re his cousin Bray Thomas, deceased. 7 - 1886 - Letter from Inglewood - Gooding. 8 - 1886 - Letter from Registrar of Titles re Gooding.cottage, miners, connelly, tatchell & dunlop, jenkins & barger, mcclean, hughes d, adams, maxwell, crawford w h, mckay, the london chartered bank o australia, barwick j, bray r j, bray thomas, gooding, register of titles

Book: Lease rents book. Green Cover with a red spine. Lease Rents Book + Half Yearly Meetings. South New Chum Syncline Gold Mine. Miners Rights etc. New Don NL. Castlemaine and other mining leases. Insurance details for South New Chum Syncline, East Clarence Gold Mine Co. NL, Central Nell Gwynne Gold Mine Co., NL and Monument Hill Gold Mine Co. NL.MCCOLL RANKIN & STANISTREETorganization, business, gold mining lease, mccoll rankin & stanistreet

Book: Minute Book 4. East Clarence Gold Mining Company No Liability, Hardcover green. East Clarence Minute Book 4.MCCOLL RANKIN & STANISTREET MCCOLL RANKIN AND STANISTREET MCCOLL RANKIN & STANISTREET MCCOLL RANKIN AND STANISTREET MCCOLL RANKIN & STANISTREET MCCOLL RANKIN AND STANISTREET MCCOLL RANKIN & STANISTREET MCCOLL RANKIN AND STANISTREETorganization, business, mining, east clarence gold mining company.