Barque Metropolis was possibly that of the 1887 4 masted barque built by R & J Evans, Liverpool. Officers of the Barque Metropolis are also joined by crew of the Penryhn Castle in port at the time. The ladies on the far right of the funeral party may be relatives but more likely to be representatives from the Mission to Seamen offering sympathy to fellow crew members and honouring the burial of the apprentice, Ray Rattley name also reported in the LHLG newsletter as Rutley. The Apprentice was ill after arriving from S. America in August 1914 and was taken to a local hospital but died the following day. The Mission chaplain attended him.The image of the burial is significant in the depiction of a multi-cultural crew and the presence of local women representing and symbolising the concern and sympathy felt for the apprentice's family and the plight of young seafarers far from home ports. The inscription with identifying names provides a valuable chronological link with seafarers and clergy attending the burial and funeral. Black and white photographic print adhered to mount board with handwritten inscription identifying some of the people depicted photographed while attending an internment and funeral service.Inscriptions in black ink along the lower edge of the mount beneath Photograph: Left to right names of crew and chaplain see image.at Lwr left printed in cursive : 'The Swiss Studios' and at right corner: "Melbourne" on reverse: in Pencil handwritten cursive " To Rev A G Goldsmith / from Capt P Jones / Barque Metropolis " roy rutley, barque metropolis, funeral, burial

Miss Eva Carmichael, the subject of the photograph, was one of only two survivors from the wreck of the Loch Ard, wrecked on Mutton Bird Island near Port Campbell, Victoria, on June 1st, 1878..The photograph holds great significance for its connection to Eva Carmichael, one of two survivors from the wreck of the Loch Ard. It is also significant for its connection to the Loch Ard, one of the most tragic shipwrecks in Victoria's coastline and listed on the Historic Shipwreck Register.Photographic portrait mounted on brown cardboard of Miss Eva Carmichael. Miss Carmichael is standing near an upholstered chair and rests wth both hands upon a masonry pillar. Behind her is a balustrade in the classic style common to that period. The background consists of a large tree giving the impression of a garden setting. It was produced at the studio of Arthur & Son, Mount Gambier, 1878. Inscriptions handwritten below the photograph. Handwritten in white "Miss Carmichael" Stamped "Arthur & Son / MOUNT GAMBIER"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, photograph, shipwreck loch ard, eva carmichael, portrait, arthur & son, mount gambier, loch ard, shipwreck, mutton bird island

The Kew Baptist Church was originally located on the corner of Cotham Road and St John’s Parade. In 1922, work commenced on a new, larger church in Highbury Grove. The foundation stone of the new building was laid by Cr Ratten of the City of Kew on Saturday 14 October 1922, with the First Kew Scouts forming a guard of honor. A collection taken up at the laying of the foundation stone raised £454. The site and building cost approximately £6,000. The architects for this new red brick ‘semi-Gothic’ church were Messrs Gawler & Drummond. The interior of the church accommodated 500 parishioners. The seating sloped towards the pulpit with no columns obstructing the view of the worshippers. An item from an outstanding and diverse photographic collection, assembled by members of the Christian and Washfold families of Kew. This remarkable photograph is a silver albumen photograph of what was by then a significant religious group in Kew. Photographic positive on mounting board of laying of the foundation stone of the new Kew Baptist Church in Highbury Grove, Kew, The foundation stone of the church was laid on 14 October 1922 by Councillor F.R. Patten J.P. The church was opened on 9 June 1923."Building Kew Baptist"washfold family, kew baptist church -- highbury grove -- kew (vic.), churches -- kew (vic.), christian-washfold collection

Original sepia photographic print in cardboard mount. Two unidentified make players, and unidentified figure in background. Photographer's stamp states"Edwin G. Adamson...Melbourne'. Materials: Cardboard, Paper, Photographic emulsiontennis

The first Baptist church in Kew was wooden and erected in St John's Parade in 1854 and was enlarged in 1859. A brick church was later erected in Cotham Road in 1882 and was later named Newnham Hall after Reverend Newnham. In 1921 land was purchased in Highbury Grove at a cost of 602.00. Messer's E & F Ratten donated 6 feet of land beside this new purchase which allowed for a frontage 79 feet. The Foundation stone of the current church was laid on 14 October 1922 by Councillor F.R. Patten J.P. The church was opened on 9 June 1923.A rare item from an outstanding and diverse photographic collection, assembled by members of the Christian and Washfold families of Kew.Photographic positive on mounting board. interior of Baptist Church in Highbury Grove with seated congregation in foreground and serried ranks of children and adults at front. Probably the church choir at the opening of the church in 1923. The photo is encased in a grey bifold cardboard outer with a crest on the front. The photo is protected by a sheet of watermarked cellophane. washfold family, kew baptist church -- highbury grove -- kew (vic.), churches -- kew (vic.), christian-washfold collection

Henry Christian (c.1809-91) was one of the first settlers in Kew. He arrived in Victoria with his wife Agnes and son Orlando in 1855 on the Gypsy Queen. He established a rope-making business in Bulleen Road by 1858 but was declared insolvent two years later. In his final years, he was celebrated as one of the oldest living settlers of the district. His son, Orlando Henry Beater Christian (c.1853-1930) became a member of the Hawthorn Band and a foundation member of the Willsmere Swimming Club. Orlando and his wife Elizabeth had four children: Henry Beater (1886-1962), Ada Susannah May (1888-1962), Orlando Julius (1891-1917) and Lilian Adelaide ( -1956). Ada married George Herrick Washfold, and had four children: Lilian Mavis, Orlando George Barnard, William Edwin and Henry Clifford (the husband of the donor).An item from an outstanding and diverse photographic collection, assembled by members of the Christian family of Pakington Street, Kew, comprising professional and amateur photography, depicting individuals, natural and settled environments and the interactions between these worlds. Many of the photographs vividly capture the worlds of three generations of men - Henry Christian, his son Orlando Henry Beater Christian, and his grandson of Henry Christian. The most important photographer was the youngest, Henry Christian, who was a keen explorer, not just of his immediate environment but also of the Victorian wilderness. His major opus is contained in two albums in which he records, sometimes in majestic detail and on other occasions the intimate features of the natural world. His photographic travels during the 1920s, often in solitary ramblings but on other occasions with companions, recall the heroic landscape photography of an earlier era, pioneered by Nicholas Caire. In addition to their aesthetic value, the albums are historically significant records within the State of Victoria, of what is now a distant point in time, and of places that have become radically altered through human intervention. Photographic positive on mounting board. The image depicts a woman and three young children in a buggy drawn by a donkey. The road on which they pause is surrounded by fenced and cleared farmland, stretching away to the distant hills. It is presumed that the subject of the photo is Elizabeth Christian (nee Schoberg) and three of her four children. The photographer may have been her husband, Orlando Henry Beater Christian.christian family, washfold family, kew pioneers, christian-washfold collection

A Carte de Visite (hereafter CdV) (also known as a calling card) was popular within the mid-19th Century. It is a small card with a photographic portrait mounted on it. These cards were exchanged during the Victorian era (peaking in the 1860s) between families and friends. This particular CdV was captured by John Paul Carolin in c.1877. Carolin was a two time Mayor of Bendigo (1889-1990 and 1907-1908) and ran a photography studio on Piper Street in Kyneton from 1866. This photograph depicts a young Daniel “Dan” Kelly posing for his photograph while sitting on an ornate chair and leaning his elbow on a small pedestal table. Dan was approximately seven years younger than his famous brother, Edward “Ned” Kelly. He was born in 1861 to John “Red” Kelly (an Irish ex-convict) and Ellen Quinn. In march 1878, Dan was wanted for arrest on the charge of horse stealing. This event, known commonly as the “Fitzpatrick Incident” resulted in the formation of the Kelly Gang as it is known in popular culture today. After the incident the Kelly Gang disappeared into the bush and a 100 pound award was issued for their arrest. During this period the gang robbed banks including those at Jerilderie, Euroa and Benalla. On the 28th of June 1880, Dan Kelly died at Glenrowan in what was the Kelly Gang’s final stand: the Siege of Glenrowan. Following this event, Dan’s elder brother Ned is the sole survivor of the Kelly Gang until he is executed at the Melbourne Gaol on the 11th of November 1880. The circumstances around the deaths of Dan Kelly and Steve Hart are controversial but it is generally accepted that they died in a suicide pact inside the Ann Jones Inn.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Individuals like Dan Kelly played an essential part in the Kelly story which have been adapted for popular culture. The study of these individuals through their images and records can help researchers to correctly interpret their involvement with Ned Kelly and the Kelly gang.Sepia, rectangular, postcard on boardObverse: Carolin Photograph Kyneton / Reverse PHOTOGRAPHED / FROM LIFE / ADVANCE AUSTRALIA / BY / J.P. CAROLIN, / KYNETON. / VICTORIA. / COPIES MAY BE HAD ON / APPLICATION. / DK/Dan Kelly/9 2 48/7#carte de visite, kelly gang, dan kelly, daniel kelly, fitzpatrick, ned kelly, steve hart, joe byrne, ann jones inn, glenrowan, kyneton, 1877, john paul carolin, carolin

A Carte de Visite (hereafter CdV) (also known as a calling card) was popular within the mid-19th Century. It is a small card with a photographic portrait mounted on it. These cards were exchanged during the Victorian era (peaking in the 1860s) between families and friends. This particular CdV was captured by James Bray in c.1870. Bray who worked as a professional photographer in Camp Street Beechworth from 1870-1891. He was one of four men who photographed the Kelly Gang after the siege in Glenrowan in 1880. He is also renowned for his previous work photographing members of the Kelly gang. Depicted in this photograph is Isaiah “Wild” Wright. Wright was born in approximately 1846 in County Monaghan, Ireland. At age 11, Wright arrived with his father John Wright, mother Margaret and younger siblings in Victoria on the 9th of July 1857. They sailed on the ship ‘Carleton’ which left from Liverpool in England. Wright was stood 5 foot 11 inches tall and had brown hair with hazel eyes. He had a scar on the inside corner of his left eyebrow, a large scar on his right cheek and a scar on the back of his head. Over the years in Australia, Wright was sentenced on numerous (particularly of horse theft) charges and spent time in Pentridge, Hulk Sacramento and Hulk Sandridge. Wright married Bridget Lloyd in 1973. Through this marriage he was connected to the Kelly family as Bridget’s mother was one of Ellen Kelly’s (Ellen was the mother of Edward “Ned” Kelly) sisters. Wright is famous for his participation in the horse stealing incident of 1871 and subsequent bare knuckle fight against Ned Kelly that occurred in 1874. In 1878, Bridget and Isaiah Wright became parents to John "Jack" Thomas Wright. Jack Wright was an Australian rules footballer who played for Geelong in the Victorian Football League 1902-1906. Wright passed away on the 29th of May 1911.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Individuals like Isaiah “Wild” Wright played an essential part in the Kelly story which have been enlarged and adapted for popular culture. The study of these individuals thorugh their images and records can help researchers to correctly interpret their involvement with Ned Kelly and the Kelly gang. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Beechworth photographer James Bray who is responsible for many images depicting members of the Kelly Gang. Sepia oval CDV printed on Card. Obverse: J.E. Bray/ Photo Reverse: 10238 Portrait & Landscape/ Photographer J E Bray Signature Beechworth/ Victoria/ Negatives Kept. Copies 5I/. Each May/ Be Had By Forwarding Name And Address/ Accompanied With Remittance To/ The Amount Of Order/ Photographs Coloured In Watercolourskelly album, kelly gang, beechworth, wild wright, boxing, burke museum, imperial hotel, bare-knuckle boxing, isaiah wright, ned kelly, isaiah wild wright, horse theft, hulk sacramento, calling card, pentridge, james bray, cdv, carte de visite

This is a set of 23 photographs of cartographic, aero-triangulation and lithographic equipment, and personnel at the Army Survey Regiment, Fortuna, Bendigo circa 1979. Photos .8P to .23P were taken in Lithographic Squadron’s printing, Camera, proofing rooms and external buildings. Cartographic Squadron’s SGT Jim McDonald operated the Editwriter type setting machine, as shown in photo .2P for a couple years in a room on the top floor of Fortuna Villa. This is a set of 23 photographs of cartographic, aero-triangulation and lithographic equipment, and personnel at the Army Survey Regiment, Fortuna, Bendigo, c1979. Black and white photos are on photographic paper and mounted on manilla card. They were scanned at 300 dpi. .1) - Photo, black & white, c1979, Typesetting machine, ‘Editwriter’ Model 7500, SGT Jim McDonald. .2) - Photo, black & white, c1979, Processor Model ACP101 & dual disk module (attached to Editwriter). .3) - Photo, black & white, c1979, Duplicating machine, stencil process electric ‘Gestetner’. .4) - Photo, black & white, c1979, Comparator photogrammetric stecometer, modified ‘Carl Zeiss’, CPL Jack Elverd. .5) - Photo, black & white, c1979, Point transfer device ‘Wild PUG IV. .6) - Photo, black & white, c1979, Zoom transfer scope, stereo ‘Bausch & Lomb’ .7) - Photo, black & white, c1979, Stereoplotter analytical automatic, ‘APC/3-1’. .8) - Photo, black & white, c1979, Prophylaxis unit, ‘Densply/Cavtron’ .9) - Photo, black & white, c1979, Machine punch register (made by Bendigo Ordnance Factory). .10) - Photo, black & white, c1979, Plan printer 122cm (48”) wide. ‘Admel Bruning’ Model - 5003A. .11) - Photo, black & white, c1979, Metal halide printing lamp. ‘Violight 5000 HV’ .12) - Photo, black & white, c1979, Densitometer transmission or reflection, ‘Macbeth’ Model – TR 524 MD. .13) - Photo, black & white, c1979, Machine whirling vertical type ‘Payne VLW’. .14) - Photo, black & white, c1979, Densitometer reflection, ‘Macbeth’ Model – RD917. .15) - Photo, black & white, c1979, Densitometer reflection, 240V ‘Cosar’ .16) - Photo, black & white, c1979, Printer contact ‘Hohlux’ Model RP-II, LCPL Martin Van der Maele. .17) - Photo, black & white, c1979, Frame printing vacuum vertical. .18) - Photo, black & white, c1979, Frame printing vacuum flip top 91cm x 117cm. .19) - Photo, black & white, c1979, Printer reduction stereo plotter diapositive ‘Wild’ Model – U3A modified and U4A modified to U4A plus. .20) - Photo, black & white, c1979, Printing press offset rotary lithographic 3 colour ‘Ultra-MAN-III’ .21) to. 23) - Photo, black & white, c1979, Camera cartographic consolidated super 100 32” x 32”The three personnel appearing in this set are identified. Most items have a full description, NSN, serial number, and the Repairer’s name, address and phone details and contact name. Just the full description is documented.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

This photograph depicts the third battle of Ypres (Battle of Passchendaele). Depicted is a trench battlefield that has been turned to mud. Two army tank vehicles have been buried in the mud of the trenches. A single soldier stands in the background surveying the battlefield.After mid-1917, and following mutinies in the over-strained French Army, the British Forces had to assume an even greater role in the war on the Western Front. For Field Marshal Sir Douglas Haig, the British commander-in-chief, this provided an opportunity to launch an offensive that he had long wanted. Attacking from Ypres in Belgium, he planned to drive the Germans from the surrounding dominant ridges and even hoped to reach the Belgian coast. Following on the success at Messines in June, he unleashed his great attack on 31 July 1917. Fighting went on, often in appalling weather and despite crippling losses, until November. Finally, with the army stuck in muddy fields churned up by the artillery fire, the bloody offensive came to an untidy close. Many would afterwards call this offensive, actually a series of battles, after the name of the village that had become the last objective – 'Passchendaele'. In the Battle off Passchendaele, the 1st, 2nd and 3rd Australian Divisions captured Broodseinde Ridge on 4 October 1917. It was a vital victory. But, then it began to rain. Five days later the 2nd Australian Division suffered heavily in a further attack in the mud. Finally, on 12 October, another attack, involving the 3rd Division assisted by the 4th, was made against the village of Passchendaele atop the main ridge. In the face of heavy fire, the men fought in the mire while struggling to keep up with their artillery barrages. Ground was taken but it could not be held. In wretched conditions, with casualties mounting at an appalling rate, the Australians had to fall back. The troops were finally exhausted and could do no more; by 15 November they handed over to the Canadians.Black and white rectangular reproduced photograph printed on mate photographic paperReverse: 6523/ (A copyright and reproduction notice from the Australian War Museum, printed upside-down in blue ink)/military album, burke museum, beechworth, military vehicle, trenches, trench warfare, wwi, world war one, world war 1, ypres, belgium

The date this photograph was taken is unknown. Estimated date 1960-70s. The gentleman in the photograph and location the photograph was taken are also unknown. Perhaps in the Beechworth or Stanley area. The photo is associated to another record, 6856 as it has the same elderly gentlemen in the image. He is able to be identified through wearing the same clothes and distinctive hat in both photographs. The photograph is associated to mining as the gentleman is standing next to a small mine site where perhaps a windless or whip was mounted over the entrance of the shaft. The windless was a structure mounted over the shaft, fitted with a hand-cranked winch, which was usually constructed from wood that would have been found in the surrounding area. Colour rectangular photograph printed on glossy photographic paper.Obverse: Reverse: 6856/ mining, windlass, whip, empty record

It is believed that the photograph was taken between 1899 - 1903. Depicted is a group of fourteen unidentified young men dressed in Australian military uniforms. A few of them are holding swords. This group were part of the Beechworth Mounted Rifles; a voluntary detachment of the Australian Light Horse Militia. This unit consisted of soldiers from the Euroa, Longwood, Violet Town, Benalla, Thoona, Wangaratta, Rutherglen, and Beechworth Detachments of Victorian Rifles, and subsequently formed into the 8th Australian Light Horse Regiment (Victorian Mounted Rifles). The Victorian Mounted Rifles was gazetted as a volunteer formation on 2 December 1885 with the aim of consolidating all the disparate calvary units dispersed across Victoria into a coordinated and single administrative and military unit. Two contingents of the Victorian Mounted Rifles fought during the Second Boer War (11 October 1889 - 31 May 1902). This conflict was fought between the British Empire and two independent Boer states; the South African Republic and the Orange Free State, over the Empire's influence in South Africa.The photograph is historically significant due to its connection to the Second Boer War and Australian Light Horse Regiment. This significance is enhanced by Australia's involvement in this war, specifically of the Victorian Mounted Rifles. This unit retains a special significance within Victorian culture, as there is a memorial and monument - erected in 1903 - honouring their service on St. Kilda Road in Melbourne. The record has strong research potential. This is due to the ongoing scholarly and public interest in war, military history, and the ANZAC legend. The historic context of this record can provide insight into Australia's history, military and defence policies. Lastly, as the Victorian Mounted Rifles remain a largely unexplored topic in comparison to other military units and divisions, the record presents a unique opportunity for further and important study and research.Sepia rectangular photograph printed on matte photographic paper.Reverse: BMM2638 / 071 1NA211 22JAN98 FOTOSUPPLIES........ ........................................ /military album, beechworth mounted rifles, australian light horse militia, second boer war, victorian mounted rifles, australian light horse regiment, military, war, british empire, south africa, 1800s, 1900s, australian army

Taken in 1908, the photograph depicts a long line of Australian soldiers riding atop horses. They marching down Ford St, Beechworth. This group were part of the Beechworth Mounted Rifles; a voluntary detachment of the Australian Light Horse Militia. This unit consisted of soldiers from the Euroa, Longwood, Violet Town, Benalla, Thoona, Wangaratta, Rutherglen, and Beechworth Detachments of Victorian Rifles, and subsequently formed into the 8th Australian Light Horse Regiment (Victorian Mounted Rifles). The Victorian Mounted Rifles was gazetted as a volunteer formation on 2 December 1885 with the aim of consolidating all the disparate calvary units dispersed across Victoria into a coordinated and single administrative and military unit. The Victorian Mounted Rifles fought in the Second Boer War (1889 - 1902), although it is unknown if the group depicted in this image were involved in the conflict.The photograph is historically significant due to its connection to the Australian Light Horse Regiment, specifically of the Victorian Mounted Rifles. This unit retains a special significance within Victorian culture, as there is a memorial and monument - erected in 1903 - honouring their service on St. Kilda Road in Melbourne. The record has strong research potential. This is due to the ongoing scholarly and public interest in war, military history, and the ANZAC legend. The historic context of this record can provide insight into Australia's history, military and defence policies. Lastly, as the Victorian Mounted Rifles remain a largely unexplored topic in comparison to other military units and divisions, the record presents a unique opportunity for further and important study and research.Black and white rectangular photograph printed on matte photographic paper.military album, military, war, wwi, world war i, beechworth, ford st, parade, horses, mounted rifles, soldiers, victorian mounted rifles, australian light horse militia

The photograph shows the popular tourist attraction, Loch Ard Gorge, which is located along the Great Ocean Road in Victoria, near Port Campbell. The gorge is named after the famous sailing ship, the LOCH ARD, that was wrecked there in 1878. Only two of the 54 passengers and crew survived. FOYLE “Foyle” written on the photograph is the name of Foyle’s Photographic studio. At the time of the photograph, the studio was owned by both Charles and Lilian Foyle (sometimes known as Lillian or Lily), either of whom could have taken this photograph. They also worked together at a later date on the photographs, sketches and paintings of the famous and historical Pioneers’ Honour Board, which is currently on view in the Warrnambool Library. Foyles Photography was the studio of James Charles Foyle. He owned “Foyle’s Photo Card Studios” in Liebig St, Warrnambool, which operated between 1889 – 1919. A letter to the editor (by Mr Edward Vidler) in the Melbourne Argus, 3rd August 1907, mentions that in that year Warrnambool would celebrate the 60th anniversary of its proclamation as a town, and that talented local artist Miss Lily Foyle would paint 200 portraits in watercolour of the pioneers who settled in the district prior to 1860. The Pioneer Honour Board can still be seen on display in the Warrnambool Library. In the Warrnambool Standard, Dec. 1917, “Mr Foyle’s studio was awarded the contract to decorate rail cars on newly opened Trans-Continental railway, assisted by his sister, Miss Findlay.” HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built-in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square-rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29-year-old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3 am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke and opened the case of brandy, which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged, and some of it was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register.Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history. Foyle's photographs date from the late 19th century to the early 20th century, representing a time of growth in the Warrnambool district and a time when the still relatively new technology of photography was more available to the community.Photograph of Loch Ard Gorge. This sepia coloured rectangular photograph is mounted on a brown cardboard backing that has a wood grain pattern. The photograph has an inscription above it, below it, and in the bottom left corner. It was made for the purpose of a presentation by the Port Campbell Progress Association. Printed above the photograph "PRESENTED BY THE PORT CAMPBELL / PROGRESS ASSOCIATION". Printed below the photograph "LOCH ARD GORGE / PORT CAMPBELL". Hand written on bottom left corner "Foyle". flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, photograph, port campbell, port campbell progress association, foyle photograph, foyle photographic studio warrnambool, warrnambool photo studio

This photograph shows the Lower Light at Flagstaff Hill, Warrnambool, in 1895, part of the Lady Bay Lighthouse Complex. The photograph is part of the Western Victoria collection produced in 1891 by Brookes' Photographic Union in Victoria. Brookes' Photographic Union was a collaboration of two brothers, Frederick Augustus Brookes and his brother Albert Edward Brookes. Frederick arrived in Victoria in the early 1880's. He and Albert formed the organisation to produce collections of photographs including the districts of Geelong, Gippsland and the Western Victoria. This photograph was taken and published just after the construction of the Warrnambool Breakwater. The image records a snapshot of the construction of the Warrnambool Breakwater, a construction that changed the history of the Port of Warrnambool, It is also a record of the Flagstaff Hill area and at that time.Photograph, sepia coloured rectangular shape, mounted between two sheets of cream card. Border of photograph is decorated with pen lines and design in corners. Subject is the Warrnambool Harbour, with a lighthouse on a hill in the foreground, a light coloured picket fence, the harbour with a moored vessel and a jetty. Produced by the Brookes' Photographic Union, and with the heading of Western Victoria. Inscriptions are on the reverse, on two stickers, a printed white label and a handwritten name.Stickers: "F.PA 60/2-74" "138" Label: "WESTERN VICTORIA / BROOKES' PHOTOGRAPHIC UNION / WARRNAMBOOL HARBOUR / (FROM THE BATTERY) Hand written in black: "B. Fisher"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, western district, western victoria, brookes' photographic union, frederick brookes, albert brookes, photograph, warrnambool harbour, warrnambool history, lady bay, port of warrnambool, b. fisher, 1895, maritime history, breakwater, warrnambool jetty

This photograph records the making and placing of the concrete blocks for the construction of the Warrnambool Breakwater in the Warrnambool Harbour, completed in 1890. Each block weighed 20 to 30-plus tons. The huge Titan steam powered crane in the photograph played a massive role in the construction. It was able to lift the concrete blocks with its overhanging, counterbalanced arm and roll on its wheels along the rails to the required position. It then lowered the blocks into position on the concrete foundation already laid on the seabed. There are many details in the photograph that help to tell other aspects of Warrnambool's history. It appears that the photograph was once owned by B. Fisher. The photograph is part of the Western Victoria collection produced in 1891 by Brookes' Photographic Union in Victoria. Brookes' Photographic Union was a collaboration of two brothers, Frederick Augustus Brookes and his brother Albert Edward Brookes. Frederick arrived in Victoria in the early 1880's. He and Albert formed the organisation to produce collections of photographs including the districts of Geelong, Gippsland and the Western Victoria.This photograph was taken during the construction of the Warrnambool Breakwater and published the year after it was completed. The project began with the Government of 1874 approving the plan, and was completed in 1890. The image records a snapshot of the construction of the Warrnambool Breakwater, a construction that changed the history of the Port of Warrnambool, Photograph, sepia coloured rectangular shape, mounted between two sheets of cream card. Border of photograph is decorated with pen lines and design in corners. Subject is the Warrnambool Breakwater construction with the Titan steam crane on rail lines, concrete blocks, a windmill and tanks, sheds, and a multi-storey building in the background. Produced by the Brookes' Photographic Union, Western Victoria. Inscriptions are on the reverse, on two stickers, a printed white label and a handwritten name.Stickers: "137" "F.Pn 61/2-74" Label: "WESTERN VICTORIA / BROOKES' PHOTOGRAPHIC UNION / HARBOUR WORKS, / WARRNAMBOOL." "The subject of this picture is the making of concrete blocks for the Breakwater. These blocks weigh from 20 to 30 tons each, and are lifted about by the large piece of machinery seen in the picture." Hand written: "B. Fisher"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, western district, western victoria, brookes' photographic union, frederick brookes, albert brookes, photograph, warrnambool harbour, harbour works, concrete bolcks, breakwater, warrnambool history, breakwater history, 1891, lady bay, port of warrnambool, b. fisher, titan crane, steam crane, concrete blocks

The album tells the story of ports visited by Allan Charles Quinn during his service on board the M/S "Mongabarra". He signed on in San Francisco on December 1, 1949. Note this trip overlapped with the Album (00278) which documents the next trip Quinn made to Africa out of Gothenburg. The album preserves a 1950s perspective of a Merchant Seaman and his experience of the respective Ports at that time. The Collection is especially useful when viewed along with contemporary Quinn family correspondence.Album with metal Metal binder rings at spine and beige fabric cover with gouache printed colour design featuring scandinavian buildings. The album contains 25 pages of b/w mounted photographs. Some are missing. The cover is illustrated with colour screenprinted pictures of a white tower on the left and a brown Barn-like building on the right. There are stylised canoe boats containing rowers in the foreground.. On the inside front cover is a handwritten itinerary of the places visited.On front cover possible designer printed signature in black: "Grane"; On inside front cover on adhered sheet of paper in aqua ink lists intinerary/ index of 20 Ports visited: Title (see above) / "Signed on in San Francisco December 1st 1949 / " then a header line for 4 columns: " PORT COUNTRY ARRIVED DEPARTED / 1. San Francisco U.S.A 10-10-49 4-12-49 / ... / 10. ADELAIDE ... 11-4-50 19-4-50 / .../ 20. HALDEN NORWAY 23-7 - 50 25-7-50" ; Most of the photographs in the Album also annotated and dated ; inside back cover has an embossed letter R.album, photograph, ms mongbarra, san francisco, dunkirk, voyages, allan quinn, barbara quinn, seafaring life, ww2, seafarer, melbourne, sydney, brisbane, san pedro, newcastle, adelaide, port pirie, port lincoln, cape town, las palmas, australia, south africa, canary islands, usa, united states, france, antwerp, belgium, hull, england, hamburg, germany, copenhagen, denmark, gothenburg, norway, sweden, halden, malmö

Photograph belonged to Gerald Graham No. R53703 RAN. Rank Mechanician 2nd Class. HMAS SYDNEY 14-08-65 - 20-10-65 HMAS SYDNEY 22-04-66 - 18-05-66 HMAS SYDNEY 25-05-66 - 11-06-66 Troop Transports to Vietnam and return.Photograph - photographic paper, enlarged colour photograph of an RAN vessel - number "21" painted on ship bridge of an aircraft carrier - "HMAS MELBOURNE". Sea in foreground, sky in background. Mount - dark blue colour cardboard. Frame - timber with light brown varnish and decorative moulding. Glass front and MDF Board with brown paper backing.framed accessories, photographs, ran, hmas melbourne

This set of six colour photographs of a Catafalque Party from the Army Survey Regiment was taken at the Mount Macedon Memorial Cross on the 19th of November 1995. The ceremony was held to commemorate the 60th anniversary and the refurbishment of the site. The refurbishment entailed the complete replacement of the cross and its surrounds. The cross is also known as the Cameron Memorial Cross and was built in 1935 as a memorial for those who lost their lives in the First World War. The Guest Speaker was Mr Bruce Ruxton AM MBE OBE, who at the time was the president of the Victorian RSL. He served in the 2/1st Australian Topographical Survey Company in WW2 before reallocation to the 2/25th Australian Infantry Battalion. He was the president of the Victorian RSL from 1979 to 2002 and was a staunch vocal advocate for the health and welfare of war veterans and their families. Refer to the Wikepedia web site for more detail on the history of the Mount Macedon Memorial Cross and Mr Bruce Ruxton AM MBE OBE.This set of six colour photographs of a Catafalque Party from the Army Survey Regiment was taken at the Mount Macedon Memorial Cross on the 19th of November 1995. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, colour, 1995. Mount Macedon Memorial Cross Ceremony, SPR James Commons in foreground. .2) - Photo, colour, 1995. Mount Macedon Memorial Cross Ceremony, Guest Speaker - Mr Bruce Ruxton AM MBE OBE. .3) - Photo, colour, 1995. Mount Macedon Memorial Cross Ceremony, SPR Katie Royce, unidentified soldier in background. .4) - Photo, colour, 1995. Mount Macedon Memorial Cross Ceremony, James Commons. .5) - Photo, colour, 1995. Mount Macedon Memorial Cross Ceremony, L to R: SSGT Peter Coles, SPR James Commons. .6) - Photo, colour, 1995. Mount Macedon Memorial Cross Ceremony, SPR James Commons. Each photo is annotated ‘Mt Macedon Memorial Cross Ceremony 19 Nov 95. Mr Bruce Ruxton AM MBE, OBE, SSGT Peter Coles, SPR Katie Royce and SPR James Commons are identified on the photos. royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

This is a set of 14 photographs of RA Svy technicians operating photogrammetric equipment in Air Survey Squadron, Army Survey Regiment, Fortuna, Bendigo; and the School of Military Survey Bonegilla c1960s to c1980s. The Wild B9 stereo plotter were introduced in 1962 and the Wild B8 stereo plotter was introduced in 1966. The Wild B9 and B8 stereo plotters were used for plotting topographic detail and contours. These analogue machines were manually controlled by adjusting the control knobs for the orientation of the 3D image. The B9s used a four and a half square, and the B8s used a nine-inch square photo image on a film or glass diapositive which allowed highly accurate extraction of map features. At first, plotting with B8 and B9 stereo plotters was undertaken at the aerial photography scale of 1:80,000 in pencil onto a controlled plotting sheet. Sheets were then inked up and reduced photographically to the 1: 100,000 publication scale for scribe impression production. In the early days topographic detail and contours were plotted with a pencil or ink pen mounted at the far end of the pantograph arm. The plotting procedure was upgraded to direct plotting in ink with photographic reduction to publication scale. In 1975 four B8s were upgraded with tri-axis locaters as part of the Input Sub-system to enable digital extraction to AUTOMAP 1’s topographic database. When AUTOMAP 2 was introduced in 1982 these B8s were upgraded, and additional machines added to expand the Army Survey Regiment’s digital capture capability. There are several more photos catalogued in the Victorian Collections database of RA Svy personnel operating Wild B9 and B8 stereo plotters.Photogrammetric Equipment – Army Survey Regiment, Fortuna, Bendigo c.1981. . .7) – Unidentified technician operating Wild B8 stereo plotter in AUTOMAP 1 at ASR. .8) - Wild B8 stereo plotter in AUTOMAP 1 at ASR. Photogrammetric Equipment – Army Survey Regiment, Fortuna, Bendigo. c1981. .9) – ASR’s CPL Dave Cook in AUTOMAP 1 operating a Wild B8 stereo plotter. This is a set of 14 photographs of RA Svy technicians operating photogrammetric equipment at the Army Survey Regiment (ASR), Bendigo and the School of Military Survey (SMS) Bonegilla. c1960s to c1980s. The photographs are on 35mm colour slides and were scanned at 96 dpi. .1) - Photo, colour, c1964. Unidentified ASR technicians operating analogue Wild B9 stereo plotters. .2) - Photo, colour, c1974. ASR’s SPR Mick Minchin operating an analogue Wild B8 stereo plotter. .3) to .6) - Photo, colour, c1980. Photogrammetry Instructor SGT Neil ‘Ned’ Kelly at the SMS operating an analogue Wild B8 stereo plotter. .7) - Photo, colour, c1981. Unidentified technician operating Wild B8 stereo plotter in AUTOMAP 1 at ASR. .8) - Photo, colour, c1981. Wild B8 stereo plotter in AUTOMAP 1 at ASR. .9) to .14) - Photo, colour, c1981. ASR’s CPL Dave Cook in AUTOMAP 1 operating a Wild B8 stereo plotter..1P to .14P - Some of the equipment is annotated on the frame of the 35mm slides.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, photogrammetry

Photograph - on photographic paper in colour, corps badge with crown and with silver laurel wreath and dark blue inner circle. Silver writing. Paper adhered to mount with varnish finish. Mount - timber, block shaped.Information on badge. - "ROYAL.AUSTRALIAN.CORPS.OF.TRANSPORT" "E11R" - “PAR ONERI”photographs, mounted, transport corps

This is a set of eight photographs of technicians operating photogrammetric equipment in Air Survey Squadron, Army Survey Regiment, Fortuna, Bendigo. c1960s to c1980s. The Wild A9 Stereocomparator and Wild B9 stereo plotter were introduced in 1962. The Wild B8 stereo plotter was introduced in 1966. Technicians used the Wild A9 Stereocomparator to accurately measure between pass, tie, and survey control points on aerial photographs. The Wild B9 and B8s were used for plotting topographic detail and contours. These analogue machines were manually controlled by adjusting the control knobs for the orientation of the 3D image. The B9s used a four and a half square, and the B8s used a nine-inch square photo image on a film or glass diapositive which allowed highly accurate extraction of map features. At first, plotting with B8 and B9 stereo plotters was undertaken at the aerial photography scale of 1:80,000 in pencil onto a controlled plotting sheet. Sheets were then inked up and reduced photographically to the 1: 100,000 publication scale for scribe impression production. In the early days topographic detail and contours were plotted with a pencil or ink pen mounted at the far end of the pantograph arm. The plotting procedure was upgraded to direct plotting in ink with photographic reduction to publication scale. In 1975 four B8s were upgraded with tri-axis locaters as part of the Input Sub-system to enable digital extraction to AUTOMAP 1’s topographic database. When AUTOMAP 2 was introduced in 1982 these B8s were upgraded, and additional machines added to expand the Army Survey Regiment’s digital capture capability. This is a set of eight photographs of technicians operating photogrammetric equipment in Air Survey Squadron, Army Survey Regiment, Fortuna, Bendigo. c1960s to c1980s. Black and white and colour photos are on photographic paper and scanned at 300 dpi. .1) - Photo, black & white, c1965. Unidentified technician operating a Wild A9 Stereocomparator. .2) - Photo, black & white, c1965. Unidentified technician operating a Wild B9 stereo plotter. .3) - Photo, black & white, c1967. L to R: Unidentified technician, SPR Ken Jeffery operating a Wild B9 stereo plotter. .4) - Photo, colour, c1974. Unidentified technician, operating a Wild B8 stereo plotter. .5) - Photo, black & white, c1974. Unidentified technician operating a Wild B8 stereo plotter. .6) to .7) - Photo, black & white, c1979. Unidentified technicians operating a Wild B8 stereo plotter. .8) - Photo, black & white, c1985. Unidentified technician in AUTOMAP 2 operating a Wild B8 stereo plotter..1P, .2P, .4P, .5P, .7P – no annotations. .3P – annotated ‘Standing - , Seated SPR Ken Jefferies (sic). .6P – annotated with date ‘1979’ .8P – annotated ‘AUTOMAP 2’royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, air survey, photogrammetry

An unknown couple on their wedding day, photographed by Warrnambool photographer, Alex Wilkins. Alex was popular as a photographer and produced a large volume of work. This photograph was purchased by Les and Elizabeth O'Callaghan at a cost of $5. It is thought to be members of the Cassady family.The photo depicts styles of wedding dress popular in the 1940’s. Alex Wilkins commenced his photographic career working for a local chemist and worked for some time from a studio at 151 Fairy Street Warrnambool and in 1938 purchased the studio of Arthur Jordan and moved to Liebig Street. The business was sold in 1961 and for some time after he operated in a small studio and worked shooting film for local TV channels. Alex died in 1972 after a short illness. Sepia wedding photograph depicting bride and groom, in cream wooden frame with cream mount. A.Wilkins, W’Bool.warrnambool, warrnambool wedding, alex wilkins

Horse owned by the Fisher family who were dairy farmers in the Mongans Bridge area in the early 1900'sThe Fisher family were very keen horse people and received awards for their horsemanship and their horsesSepia photographic postcard of Everil Fisher with saddled horse. Dog in the foreground. Photo taken 1923Handwritten on back - Everil Fisher 1923fisher family, kiewa valley farmers, mongan's bridge

First Tawonga bridge was built in 1884- destroyed by floods in 1916. New bridge constructed 1923 and destroyed in 1953. Present concrete bridge constructed in 1986 and named Ryders BridgeBridge construction over Kiewa River at TawongaBlack and white photographic postcard of the bridge at Tawonga across the Kiewa River.Handwritten in pencil on rear of photograph - Sunday 22nd March, 1936. Printed on front - Bridge at Tawonga across the Kiewa (Blumer, photo)tawonga bridge, kiewa valley

Photograph taken from highway in Tawonga. Mt Bogong in the background. Note the early model vehicles and petrol pumps and signage.Photographic history of buildings in Tawonga pre 1940.Coloured photograph of garage owned by George Harris in Tawonga, opposite Hanna Paske pre 1940 (estimate only)Handwritten in ink on back - Opp. Hanna's Paske. George Harris owned the garage.tawonga, mt bogong, tawonga garage

Photographic Booklets were a common communication for tourists on holiday.Fold out postcard with 9 black and white photos printed one side only. Front has title 'Bogong' / Vic / Photographic Booklet with 2 kookaburras printed on beige cardboard. 3 lines for address. Flap folds into slots on each side. 1957Back: Published by The Valentine Publishing Co. Pty. Ltd. Melbourne, Sydney & Adelaide 'May 1957' penciled on top left corner on cover.bogong, sno cat, mt beauty, tourism

The photographic developers were used to develop plates, films and lantern slides. They had to be mixed as per instructions on the bottles. These may have been used by an individual or by a local school or organisation.Wilma Davies, a long term resident of the Kiewa Valley, donated this photographic equipment.1 brownish/black cardboard box with hinged lid at top. Label is black, white & orange on front & across top of lid. This label continues down the sides and was a seal. The box contains: 3 clear glass cylinders with white markings used to measure 1 cc of liquid, showing 5cc and 10cc. Also: 1 brown glass, rectangular shaped bottle "Kodak Amidol" 1 ounce nett. It has a black plastic screw lid, a white label on 3 sides with black & orange print. Also: x2 round brown glass bottles with a sealed orange rubber(?) over tin(?) sealed (screw?) lids. Label "Johnson Colourform Developer "A" solution" all around with white label on the front and "Activol" and 'Caution' on the back all in black and orange print.Johnson Colourform Outfit on box. White marks showing 1cc on glass cylinders and 5cc and 10cc. "Kodak Amidol" etc. on 1 bottle "Johnson Colourform developer "A" Solution on 2 bottles.photographic equipment, photography, chemicals, processing equipment, johnson of hendon, kodak, colourform outfit, photo developer, wilma davies

The photographic envelopers were used to develop plates, films and lantern slides. They had to be mixed as per instructions on the packet. These may have been used by an individual or by a local school or organisation.Wilma Davies, a long term resident of the Kiewa Valley donated this photographic equipment.Brownish/black cardboard box with no lid (broken off). Label is black, white and orange on front. The remaining parts of the label seal are on the sides with a 'picture' of (weighing) scales and words Trade Mark in black on orange and white. Inside the box are 31 clear plastic sealed cardboard boxes of "Colourform developer "B" Powder". The boxes are white with a label on the front with black and orange print. The ends are clear, the sides have "Colourform "B" in orange and the back has 'Directions' in black .Large box - Johnson Colourform Outfit Small boxes Colourform developer "B" powder.photographic equipment, photography, johnsons of hendon, colour form developer powder, photo developer, wilma davies