Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection.A black and white photograph of Denis Gibbons in camoflague gear taking a rest at the 1 ATF Base Nui Dat, Vietnam.photograph, 1 atf base, gibbons collection catalogue, denis gibbons, photographer, vietnam war, nui dat

Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection.A black and white photograph of Denis Gibbons, in 2004 standing at the Cenotaph in Martin Place, Sydney. He is adorned with his Nikon cameras and his Vietnam War decorations.photograph, cenotaph - martin place sydney, gibbons collection catalogue, em mcquillan collection, denis gibbons, photographer, vietnam war

Bendigo followed much the same pattern as Ballarat, and was not ready for an up-to-date studio until 1880 when the Bartlett Bros. (Francis and Henry) who bad conducted a successful business in Melbourne for many years opened a small studio there. It was such a success that they decided to build large modern premises, and Francis made two trips to England and the Continent for the latest ideas. In 1884 Henry died, and to replace him, Francis secured the services of Robert W. Bugg, then employed by Foster & Martin (both pupils of Batchelder's) in Collins Street, Melbourne. In that studio Bugg made some fine portraits of Anthony Trollope during the novelist's long tour of Australia. Francis Bartlett was a keen business man, and Robert Bugg was a great operator and a fine painter. Together, their success was quite outstanding. Fifteen years later Bartlett retired with a fortune, and Bugg took over the studio. Robert William Bugg, one of our leading Painter-Photographers, was born in London in 1853, and came to Melbourne when he was five years old. He became a pupil of Louis Buvelot and, in 1879, a member of the Victorian Academy of Arts. In Bendigo he gave annual exhibitions of his oils and water colours, a number of his exhibitions being officially opened by his friend Alfred Deakin. There are a number of Bugg's Paintings in the Bendigo Art Gallery. All the portraits, landscapes, buildings, and city views illustrated in "Bendigo and Vicinity, 1897", are from photographs taken by Robert Bugg. He was a clever, genial and popular soul, and his influence on the cultural life of his adopted city was considerable. He retired in 1932 and died in his early eighties.Seven Photos of vehicles from Glass Plate Negatives. Slides are ex Bartlett Brother Bendigo, photographers. The Slides were used for advertising prior to the shows and during intervals; possibly at either of the three picture theatres, the Lyric, the Plaza, or the Princess Theatre. history, bendigo, bartlett brothers bendigo, bendigo theatre advertising

Black and white photograph (2 copies- 1 original on cardboard backing, 1 retouched copy)Written on back of original image: "W MacKinlay, c1924". Photographer listed as "Eden Photo Studios, Melbourne". Written on back of copy: "Sandy Ross- Photographer. Chirnside Park".

Black and White reproduction (copy by scanning and reprinting) of a image of two Bendigo Tramways Co. Ltd steam trams and trailers at Charing Cross. Appears to be trailers 3 and 4. Understood to be 1898. Shown as a William Ninnis photographer, held by the Bendigo Historical Society (crossed out) and Creative Image Photographic Collection, Both trailers have roof advertisements "Confidence-Curls Tobacco" and in the background is Henderson & Goodisson? Beehive building, advertising Furniture and Drapery. Also J. T. Mill Tailor. .1 - Black and White copy print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Added 1/7/2013In pencil "The Fountain 1898 / Bendigo Historic Society Inc Collection (crossed out) / Photographer William Ninnis" and in ink "Creative Image Photographic Collection". .1 - in ink on rear "Steam Trams at the Fountain" and in the bottom right hand corner "P.W. Duckett"trams, tramways, bendigo, steam trams, trailers, charing cross, tram 3, tram 4

Date and Location Unknown - 3 Unknown Ladies in a Gas Appliances Showroom - On the back a Stamp of Martin Washington The Bendigo Photographers 250 Hargreaves Street Phones 3626, 150.person, group, females

Sepia colour photograph of Power Switch Panel on buff border, mounted on green cardboard. Reverse: stamped in blue W. H. Robinson, Photographer, Mundy St. Bendigo.+person, individual, basil miller

Three pages list of Bendigo and Eaglehawk Photographers 93rd edition, January 1983). Compiled bt Mike Butcher, President, Bendigo Regional Photographic Society. Two copies.bendigo, business, photographers

black and white photograph of man and woman wearing Victorian era clothing / old and stained / rear shows Logo - Wm Murray Photographer , 74 Broomielaw St Glasgowphotograph, person, male / female, black and white photograph of man and woman wearing victorian era clothing / old and stained / rear shows logo - wm murray photographer , 74 broomielaw st glasgow

JACK EMMETT COLLECTION black and white photograph mounted on cardboard of WW1 Australian soldier taken in a studio with a garden scene in the background -photographer -Arthur & Son Mount GambierArthur & Son Mount Gambierphoto, soldier, ww1, arthur & son mount gambier

UNK soldier Photographer - Fraser - Ballarat Picture Framer - J A Reynolds, 28 Sturt St., Next Courier Office. Wall Paper and Paintine Warehouse. Art Studiophoto/pictures, ballarat rsl, ballarat

Demonstrates the use of the trams in the city area of Ballarat, late 1950's and their use.Black and white photograph of Ballarat 35 at the city terminus, Sturt and Lydiard streets, south side. The tram has the destination of Sebastopol. Photographer unknown - see history of object.In the rear in pencil - "Ballarat"trams, tramways, sturt st, lydiard st, city, tram 35

Panoramic view of Bendigo Looking South west from St. Paul's Church Tower, circa 1874. A chimney is visible in the middle of the photo. Photographer: Caire Plate 46Cairephotograph, streetscape, bendigo

Robin Kelly was born Robin Vandersluys in Mary Street, Kew. As a child, she sang in backyard concerts run with her brother, Leslie. The family moved to Deepdene in 1949 and Robin joined church and school choirs. Later she was to study classical singing with Stella Power, modern singing with Jack White, TV Presentation with Natalie Raine of Crawford Productions and acting/singing with Jessie Matthews. Following her victory in a talent quest at the Orama Ballroom, she was invited to join the Orama Big Band with singers Harry Cox and Arlene Forrest. She also sang with the Kerm Jones Jazz Band at Power House and with Frank Johnson's Jazz Band at Jazz Junction. Robin became resident band vocalist at the historic Federal Hotel in Collins Street with the Rudi Laquer Trio. She also sang at The Savoy Plaza with the George Cadman Trio. A year later she became resident vocalist at the Ress Oriental Hotel with the Lennie Holmes Trio. Later, Robin married pianist Peter Jones, singing under the name 'Robin Vanser' in clubs in Sydney and regional New South Wales. She was booked for a Vietnam War tour and also sang in Tahiti. Returning to Melbourne, her agent booked her to appear in shows in Tasmania including West Point Casino and Melbourne country venues. Another agent, John Bishop, booked her to do floor shows in Melbourne, including Xmas Seasons at the Hampton Hotel where she entertained audiences with her comedy and audience participation routines. In 1971, Robin Kelly retired to run her Robin Hood Antiques business in Canterbury, during which time she was married to tenor Glenn Kelly. Later she joined Sing Australia Camberwell Choir, performing as a soloist at their Melbourne Town Hall Concert.The Vandersluys-Kelly Collection of photographs, costumes and musical performance memorabilia was donated to the Kew Historical Society by Robin Denise Kelly in 2018. The collection is an important record of stage and recorded performances in Australia in the second half of the 20th century. This new nationally-focused and artistically significant collection augments and contextualises the local performing arts materials in our collection.Colour publicity photograph of Robin Vanser (aka Robin Kelly nee Vandersluys) taken while performing in Sydney in 1965 by the photographer Greg Desmond, Ray Leighton Associates.robin vanser, perfoming arts - australia - 1960s, greg desmond (photographer), ray leighton associates - sydney - new south wales - australia (photographers)

One of a number of 'real photo' and commercial postcards created by or owned by members of the Christian and Washfold families of Kew. The postcards are part of a larger collection of photographs, postcards and publications donated to the collection in May 2021.Monochrome postcard of the fairies’ tree, signed by Ola Cohn. In this scene the sculptor is showing carving the tree. The postcard uses an image taken by a photographer from the Melbourne Argus newspaper.Th sculptor at work on her gift to the children of Melbourne / The Fairies Tree in the Fitzroy Gardens Melbourne / Sculptor Mrs Ola Cohn A.R.C.A. (London) / Photographed by the Argus Melbourne. A Real Photograph / Produced in Australia / Signed: "Ola Cohn"postcards. -- melbourne, ola cohen, fairies' tree, christian-washfold collection

Hard Cover A5 sized book. Photo of bees in a hive on the front, white & red writing. Black with white writing on the back - Blurbs about the book, the Author & Photographer

Murray Comrie Collection. This photograph is a well-preserved original. Monochrome photograph depicting the newly completed wooden bridge at Newbridge, Victoria. Position of photographer is on the east bank of the Loddon, looking west toward the present day Newbridge Pub.newbridge, bridge, loddon river, infrastructure, construction, roads, businesses, buildings

Has a strong association with a BTM/BTPS volunteer - mid 1980'sBlack and white photograph of Warren Doubleday, early 1980's covering seats in the BTPS/BTM Depot with No. 40 parked outside on No. 4 road. Photographer - "can't remember"tramways, trams, volunteers, btps, depot, tram 40

Negative of cable trams shunting at the Bourke St terminus, possibly 22/3/1940, trailers 583 and 507 have been identified by the photographer. In the background is Hudson's Stores.trams, tramways, cable trams, bourke st, shunting, tram 583, tram 507

Black and White photograph of Fred Turner (left) and seven other workers, mid 1970's?? at Preston Workshops standing in front of a Z class tram. Photographer unknown.trams, tramways, personnel, preston workshops

The four sites featured on the postcard are: Top row L-R Emu Bottom Homestead and Rupertswood Mansion. Bottom row L-R Goonawarra Vineyard and Aitkens Gap Gaol. George Evans built Emu Bottom and William Clarke was the first owner of Rupertswood. Goonwarra was one of Sunbury's early vineyards and the gaol was relocated on the police station from its original site at The Gap village on the Calder Highway.The four sites featured are important historic places in SunburyA coloured postcard featuring four historic sites in Sunbury. The word 'SUNBURY' is printed in orange across the centre of the card. Details of the four sites, the photographer and the postcard company are on the back.emu bottom, rupertswood mansion, goonawarra winery, aitkens gap gaol, george evans, william j.t. clarke

52 Frater Street was the home of the Coade family who had the house built for them. Photograph of Jane Coade outside 52 Frater Street, Kew East. She is standing by the family car with a dead tiger snake on a stick. The photographer was Mrs Doris Coade. Verso: "Jane / March 1952 / Aged 6 yrs 11 mths"52 frater street -- kew east(vic.), coade family

This photograph was used in the 150 year Lakes Entrance 1858 to 2008 display as the before picture paired with colour photograph number 03727.1 as the after picture size 10 x 15 cm road now paved with many buildings showingHistoricBlack and white photograph of Palmers Road looking south towards the sand dunes and ocean, teatree along the side of the road photographers shadow in foreground, Lakes Entrance Victoriatopography, sand dunes

This image is one of a series of photographs taken by Melbourne based photographers Stevenson and McNicoll who visited Bacchus Marsh and its nearby districts between September and November 1883. The photo is of a brick residence, built in 1865-66 as a house and surgery for Dr. Rae, a medical practitioner in Bacchus Marsh 1863-1874. Dr. Rae was influential in community affairs as a Justice of the Peace, a member of the Board of Advice of Bacchus Marsh Common School and a President of the Mechanics’ Institute. After ill health forced him to resign his practice, he built the Bungalow in 1880, where he lived until his death. The house was later purchased by William Anderson (c.1880) who named it “Dunglass”. The people in this photograph are probably members of the Anderson family. The house is now used as an Adult Education Centre. The house is of significance as the embodiment of the importance to the community of its influential figures, such as Dr. Rae, in the late nineteenth and early twentieth centuries. Small sepia 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll. The photo is of a double-fronted brick Classical nineteenth century house with a high hip roof. Two brick chimneys are visible. The left hand bay is set forward, with the central section of the house being set back. A concave return verandah supported by decorative columns runs along the front and side of the house, leading to a separate entry door off the side verandah. On the window set in this door, the word ‘SURGERY’ can be discerned, indicating that this is the entrance to be used by patients. The building features buff-coloured stone quoins and architraves. A white picket fence runs along the front. Ranged along the footpath in front of the fence stands a group of eight young women and girls. A flat stone acts as a bridge over a deep drainage culvert running parallel to the street.Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, doctors, houses bacchus marsh

The carte de visite, English: 'visiting card', was a format of small photograph which was patented in Paris by photographer André Adolphe Eugène Disdéri in 1854, although first used by Louis Dodero. Each photograph was the size of a visiting card, and such photograph cards, in an early form of social media, were commonly traded among friends and visitors in the 1860s. Albums for the collection and display of cards became a common fixture in Victorian parlors. The popularity of the format and its rapid uptake worldwide were due to their relative cheapness, which made portrait photographs accessible to a broader demographic, and prior to the advent of mechanical reproduction of photographs, led to the publication and collection of portraits of prominent persons. It was the success of the carte de visite that led to photography's institutionalization. https://en.wikipedia.org/wiki/Carte_de_visite Three B&W male portraits undated a. R.O. Henderson, studio photo with pillar, by Johnstone O'Shannessy & Co. b. Henry Jackson, head portrait in Dec. 1866, Photographed by Batchelder, Pall Mall, Sandhurst c. Mr. Jackson oval portrait facing left; photographed by N White, photographer, Mitchell Street, Sandhurst.photos, photographers

3/4 length studio photograph of standing young woman. Dark long sleeved dress buttoned up front. Closed neck with lace neckerchief. Printed on front Mendelssohn & Co Photographers. Swanston Street Melbourne. Jewelled crown depiction on front. Printed on reverse. Jewelled Crown depiction. Mendelssohn & Co, Photographers, Victoria Buildings corner of Collins & Swanston Streets Melbourne. Opposite the Town Hall in small letters.photograph, person, female

This photograph is of unknown origin but was identified in a collection of Mayday Hills Beechworth photographs. Research has failed to identify a connection with this individual and the Mayday Hills Hospital. TRIM NUMBER DRC/18/1022Black and White photograph mounted in cardboard frame. The back of the photograph has the name Joe White. In darker handwriting is Best Wishes from "The Original" The photographers stamp is of David S King Photographer Moore St East, Ararat.