The former Robert's Grocery Shop (formerly Kings Grocery Store), was converted to the Central Springs Hotel, c1985.Elizabeth (Bess) Gervasoni in the yard at King's Grocery Shop where she lived during World War Two. john hogan gervasoni, robert's grocery shop, robert's grocery store, central springs hotel

The Lord Roberts was launched in 1904 and broken up in 1962. This image comes from the publication, Beautiful Ballarat.vehicle, public, paddle steamer, transport, lake wendouree, beautiful ballarat

Deep Lead – Portrait Robert and Ethel Maud Freeland & Family. Standing L to R Alexander Norman (Charlie). Robert Henry. Marie (nee Cook) Roberts wife. Eric Stanley. C1942. Two of the sons are in uniformstawell ww2

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 t0 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1879 for his portrait of Phillip Adams, and the sketch was completed tin preparation for that portrait. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed pencil self portrait by Wes Walters drawn close to the time he completed the Archibald Prize winning portrait of Phillip Adams. Signed and dated lower centre: '1/2/79 Walters' art, artwork, walters, wes walters, portrait, sketch, available

Bereavement card for GHS member Brian Roberts 1927-2022, with personal note on reverse from his widow June.Bereavement card, black text and image.Personal note on reverse.brian roberts, june roberts, roberts family

The portrait was painted by Robert Hannaford in 2000, Archibald prize finalist. Painted by South Australian artist Robert Hannaford AM. He started off as a cartoonist for the Adelaide Advertiser, studied in the School of Mines in Ballarat and has lived and worked in India, Europe and Africa. This portrait is part of the Record Series 74. Permanent/Semi-Permanent Displayed Works.Oil Painting of Mrs Ruth Tideman Headmistress Mrs Ruth Tideman Headmistress 1983-2000

Author John William Colenso (1814-1883) was a mathematician, missionary and renowned clergyman in the Anglican Church. In 1853 he became the first Bishop of Natal, South Africa. The publisher firm Longman Green Longman Roberts & Green, was originally founded in 1724 in London by Thomas Longman under the name Longman. In August of that year, he bought the two shops and goods of William Taylor and set up his publishing house there at 39 Paternoster Row. The shops were called Black Swan and Ship, and it is said that the 'ship' sign was the inspiration for Longman's Logo. After many changes of name and management, the firm was incorporated in 1926 as Longmans, Green & Co. Pty Ltd. The firm was acquired by Pearson in 1968 and was known as Pearson Longman or Pearson PLC.The book is significant for its connection to 19th-century author John William Colenso, who was a mathematician and Anglican clergyman who had several works published. The publisher of this book, Longman Green Longman Roberts & Green, is also significant for being established in the early 18th century, contributing to the education of the studies of the scholars of the day. The book has additional importance for its connection to the Pattison Collection, which, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institutes’ Collection. The Warrnambool Mechanics’ Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance.The Pentateuch and Book of Joshua Part 3 Author: John William Colenso Publisher: Longman, Green, Longman, Roberts & Green Date: 1863 This book is one of a three-part series by this author. It is part of the Pattison Collection.Label on spine "PAT 222 COL" Handwritten text on fly: "T 9" Pastedown papers; Oval stamp "Warrnambool Mechanics Institute" "Corangamite Regional Library Service"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, longman green longman roberts & green, thomas longman, paternoster row london, pattison collection, ralph eric pattison, warrnambool mechanics’ institute, mechanics’ institute library, warrnambool library, free library, corangamite regional library service, the pentateuch and book of joshua, john william colenso, 19th-century british mathematician, missionary, anglican bishop, napal

Portrait of four people unknown. There is no indication who they are. Photograph taken in a studio setting around c1900 by Yeoman & Co.Sepia photograph taken in a portrait studio of four people. Two males standing dressed in suits each with a moustache. The two men have their right hands on the shoulders of the two elegantly dressed females seated. Yeoman & Co 139 & 141 Clarendon St South Melbourne.stawell portrait

Mr and Mrs Hooper in Studio Portrait Ballarat. From Chapman family album. Sepia Studio Portrait Gentleman in hat and three piece suit resting on back of ornate chair. Woman in straw boater hat dress with puff sleeves holding small case in gloved hands sitting on another chair. Pot plant between couple.

Geoffrey MAINWARING (29 October 1912-13 April 2000) Born Adelaide, South Australia Geoffrey Mainwaring studied at the South Australian School of Arts and Crafts before becoming an art teacher at Thebarton Technical School (1928-36). Mainwaring was adept at depicting a variety of subjects, from landscapes to portraits, and was very competent using a variety of media, including pencil, oils, and watercolour. He was a confident draftsperson, and completed many sensitively rendered portraits that give an insight into the character of the sitter. In June 1941 Geoffrey Mainwaring (SX13471) joined the 2nd Australian Imperial Force, and after five months was transferred to the Engineers and employed as a Sergeant-Instructor, specialising in demolitions. In late 1942, he was sent to New Guinea as an Australian army artist on probation. On 27 May 1947, Mainwaring was discharged from the Army, having served for five and a half years. He was appointed as an artist on a civilian basis until his paintings were completed in March 1948. In 1949 he was appointed Head of the Art School at the Ballarat School of Mines (now Federation University Australia). He continued to paint commissioned portraits for the Australian War Memorial until the late 1950s. Geoffrey Mainwaring died at Ballarat in April 2000. David Alexander was a medical doctor in Ballarat for many years. Alongside his medical work he was a committed artist, producing a large body of work over his lifetime. He was an instigator of the Federation University Art Collection and was a great supporter of local artists. Geoff Mainwaring taught painiting at the Ballarat Technical Art School, a division of the Ballarat School of Mines. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed portrait of Dr David Alexander by Geoffrey Mainwaring. Gift of David Alexander, 2014art, artwork, david alexander, available, ballarat technical art school, portrait, geoff mainwaring, mainwaring, australian war artist

Frederick Sleigh Roberts, 1st Earl Roberts was a British Soldier who served in India, Abyssinia and Afghanistan before leading the British Forces to success in the Second Boer War. He became the last Commander-in-Chief of the Forces before the post was abolished in 1904. While in South Africa he was at the Siege of Kimberley, the Battle of Paardeberg, the Battle of Poplar Grove, the Battle of Diamond Hill and the Battle of Bergendal. Roberts received many awards: Victoria Cross (1858-India); Companion of the Order of the Bath (1872-Afghanistan); Knight Commander of the Order of the Bath (1878-Afghanistan);Knight Grand Cross of the Order of the Bath (1880-Afghanistan) and Companion of the Order of the Indian Empire in the same year. He was Commander-in Chief, India in 1885 was advanced to Knight Commander of the Order of India (1887) and then Knight Grand Commander of the Order of the Indian Empire later that year. He became Knight Grand Commander of the Order of the Star of India. The same year he relinquished his Indian command and became Commander-in-Chief of British Forces in 1895 made a Knight of the Order of St Patrick. In 1899 he returned to South Africa to take overall command of British Forces in the Second Boer War. December 1900 Roberts handed over command to Lord Kitchener and returned to England where more honours were awarded. He was made a Knight of the Order of the Garter; created Earl Roberts of Kandahar, Pretoria and Waterford and Viscount St Pierre. He became a Knight of Grace of the Order of St John (1901) and then Knight of Justice of the Order of St John. The Kaiser awarded him the German Order of the Black Eagle and was among the original recipients of the Order of Merit in the 1902 Coronation Honours. Roberts died in 1914. He was given and State Funeral and buried in St Paul's Cathedral.Individual image taken from photographed poster of tobacco and cigarette cards.frederick sleigh roberts, earl roberts, india, abyssinia, afghanistan, british forces, second boer war, commander-in-chief, south africa, siege of kimberley, battle of paardeberg, battle of poplar grove, battle of diamond hill, battle of bergendal, victoria cross, companion of the order of the bath, knight commander of the order of the bath, knight grand cross of the order of the bath, companion of the order of the indian empire, knight commander of the order of india, knight grand commander of the order of the indian empire, knight grand commander of the order of the star of india, knight of the order of st patrick, knight of the order of the garter, viscount st pierre, knight of grace of the order of st john, knight of justice of the order of st john, order of the black eagle, order of merit, st paul's cathedral, london

Memorandum - yellow paper titled "Visibility of tramcars at Night" .1 - foolscap sheet from the Designing Engineer Mechanical and Electrical to the Chief Engineer, dated 23/3/1960 outlining four proposals for improving the visibility of trams at night, signed by B. J. Roberts. .2 - half foolscap sheet - from Chief Engineer to the Chairman, forwarding report and asking what further action to be undertaken - signed D. Eakins and dated 25/3/1960.Has number "102553" and "6704" on original memo.trams, tramways, mmtb, tramcars, lights, tramcar equipment, night lighting

Wes WALTERS (06 August 1928 - 19 August 2014) Born Mildura, Victoria From 1940 to 1945 Wes Walters attended the Ballarat High School. He then studied architecture at the Gordon Institute in Geelong, followed by art at the Ballarat School of Mines (a division of the Ballarat School of Mines). During his time at the Ballarat Technical Art School (later Federation University Australia) Walters studied under Neville Bunning and Taylor Kelloch, and was awarded the Ballarat Ladies Art Association Scholarship in 1948. He next moved to Melbourne to work as a commercial artist with the George Patterson advertising agency. Each evening Walters studied life drawing at the Victoria Artists’ Society and taught himself anatomy. Wes Walters excelled in both abstract and realist art. He won the Art Gallery of Ballarat’s Minnie Crouch Prize for watercolour art in 1953 and 1956. He won the prestigious Archibald Prize in 1979 for his portrait of Phillip Adams. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A large portrait of a man painted in oil.wes walters, artwork, artist, portrait, alumni, archibald prize winner, available

Robert Cochrane was a Linton schoolteacher, and principal of Linton State School 1891-1895.Sepia photograph mounted on card. Posed studio portrait of family, seated man holding book and woman holding fan, young girl standing between them holding flowers.Pencilled on back: "Miss Cochrane's brother???"robert cochrane, linton primary school, ann cochrane, ann richardson

Isabella Roberts, also known as Bella married Albert Key in 1902 Cabinet Photo Rowland Chubb Photographer, Burwood Road, Auburn Operated from Burwood Road between 1898-1900Inscribed on back in pencil ? Bella Keybella key, isabella key (nee roberts), isabella roberts, rowland chubb photographer burwood road auburn, pam thoonen (nee ingram) collection

One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.Framed photographic half portrait of Winifred Noble in the original carved wooden frame. Winifred lived at 'Avalon' in Molesworth Street, Kew.Handwritten label on rear "Winifred Noble c 1910-12"noble family, winifred noble, photographic portrait, kew

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 child, attached to a card. little gem, child, hat

The book was written by aaaaaCharles Richard Weld and was originally part of the Warrnambool Mechanics' Institute Library. The publisher firm, Longmans, Green & Co, was originally founded in 1724 in London by Thomas Longman under the name Longman. In August of that year, he bought the two shops and goods of William Taylor and set up his publishing house there at 39 Paternoster Row. The shops were called Black Swan and Ship, and it is said that the 'ship' sign was the inspiration for Longman's Logo. After many changes of name and management, including the name Longman, Green, Longman and Roberts from 1859 to 1862, The firm was incorporated in 1926 as Longmans, Green & Co. Pty Ltd. The firm was acquired by Pearson in 1968 and was known as Pearson Longman or Pearson PLC. It is important for its connection to the London publisher Longman, Green Longman Roberts, who were an extension of the Longmans, Green & Co, operating under this name from 1811 to 1823. The firm has been established for over two centuries, is renowned for publishing encyclopedias, dictionaries, books on English grammar, textbooks, poetry, reference books, novels, magazines and more. It is also significant for its association with the Warrnambool Mechanics’ Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and its important role in people's intellectual, cultural and social development throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance.Weld's Highlands: Two Months in the Highlands Orcadia and Skye Author: Charles Richard Weld Publisher: Longman Green Longman Roberts Date: 1860 Light and dark diagonally striped hardcover with a brown spine and reinforced corners. The spine has a label with an inscription.Label on spine cover with typed text "RH 914.11 WEL"warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, warrnambool library, warrnambool mechanics’ institute, mechanics’ institute library, warrnambool books and records, warrnambool public library, weld's highlands, two months in the highlands orcadia and skye, charles richard weld, 1860, 1th century, longman green longman and roberts

Johnson Family Album The Cabinet Portrait Studio YEOMAN & Costawell

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

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) .4) A tintype portrait of a man, attached to a card. little gem, tintype, man, unidentified man

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

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) .5) A tintype portrait of a child, attached to a card. little gem, photography, child, portrait

Jean APPLETON (1911-2003) Jean Appleton was a painter and craftworker who studied at East Sydney Technical College and at the Westminster School, London. After seeing French sculptor Maillol's work 'The Cyclist' she was inspired to try sculpture and consequently studied under Eric Schilsky in London. With the outbreak of war she returned to Australia, thereafter teaching at high schools in the ACT and NSW and at the Julian Ashton and National Art Schools in Sydney. The first of her thirteen solo exhibitions was held at Sydney’s Macquarie Galleries in 1940. Resident in England from 1969 to 1981, she continued to teach intermittently into the late 1970s. After a difficult first marriage to artist Eric Wilson, who died, she married painter Tom Green and they settled in Moss Vale. Though her work is now represented in major state and regional collections, Appleton was like many women artists of her generation in that recognition of her work came late in life: she was in her eighties when a public gallery first presented a retrospective exhibition of her art. (https://www.portrait.gov.au/portraits/2013.92/self-portrait, accessed 15 September 2019) Jean Appleton won the inaugural Portia Geach Memorial Award in 1965 with this work. She dies in 2003.A sketched portrait of a man's head by Jean Apppleton. It may be Jean Appleton's first husband, Eric Wilson. drawing, portrait, jean appleton

Barongarook: a rural portrait. Norman Houghton. John Reid (illus.) Robert Ashley (cart.) 1st ed. Barongarook School Centenary Committee; Barongarook (Vic.); 1979. 52 p.; illus, maps. Soft cover. ISBN 0 9596142 0 6barongarook; norman houghton; john reid; robert ashley; housing; schools; commercial premises; railway; roads; timber; minerals; social history;

Book - black comb bound, plastic front cover, green cover, black back, approx. 75 pages, titled "Melbourne Tramway Memories", prepared by Ray Roberts, conductor at South Melbourne or Hanna St depot - personal notes - 1961 to 1994 (33 years - page 60). Includes copies of tramway events from newspapers interwoven with Ray's notes. At the rear of the document is a brief history of South Melbourne depot, 1925-1995 - by Alistair Fincher. Includes notes on industrial matters, including a map where workers came from. See also items 6719 and 7272 for other versions and documents.trams, tramways, conductors, south melbourne depot, personal papers, history