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Greensborough Historical Society
Memoir, My earliest memories, by Val Wilson (nee Rolfs), 06/04/2014
Reminiscences of growing up in Greensborough and Briar Hill in the 1940s and 1950s, written by GHS member Val Wilson.13 p., typescriptgreensborough, briar hill, wilson family, val wilson(nee rolfs) -
Greensborough Historical Society
Memoir, Recollections of Watsonia and Crellin Street Kinder, by Patricia Hogan, 1961_
Recollections of Watsonia in the 1950s and 1960s, written by Patricia Hogan.2 p., typescriptwatsonia, patricia hogan, crellin street kindergarten -
Greensborough Historical Society
Photograph - Digital Image, Cherel Sartori, Electricity connected in Henry Street, 1950s, 1956c
Kell's Cottage with electricity connected 1950s. The house was built 1917, at 112 Henry Street Greensborough by William Mitchell on the 60 acre dairy farm owned by Ethel and Walter Kell. This collection of photographs was copied by Cherel Sartori (who owned the house from 1990-2000), following a visit by Claude Amiet who lived in the house as a child in the early 20th century.An indication of the rural aspect of this area in the mid-20th century.Digital copy of black and white photographkell's cottage, claude amiet, cherel sartori -
Greensborough Historical Society
Photograph - Digital Image, Cherel Sartori, Paddock and gates in Henry Street, 1950s, 1956c
Paddock and driveway at Kell's Cottage 1950s. The house was built 1917, at 112 Henry Street Greensborough by William Mitchell on the 60 acre dairy farm owned by Ethel and Walter Kell. This collection of photographs was copied by Cherel Sartori (who owned the house from 1990-2000), following a visit by Claude Amiet who lived in the house as a child in the early 20th century.An indication of the rural aspect of this area in the mid-20th century.Digital copy of black and white photographkell's cottage, claude amiet, cherel sartori -
Greensborough Historical Society
Advertisement - Digital image, Guymer Plumbers Montmorency, 15/12/1954
These advertisements were collected from a local newspaper. Guymer Plumbers Montmorency operated from Binns Street Montmorency in the 1950s.This advertisement is for a Greensborough based business which no longer operates.Digital copy of newspaper advertisement. -
Greensborough Historical Society
Advertisement - Digital image, Rail notices 1950s, 1950s
These advertisements were collected from a local newspaper. These are notices to variations in rail services.Digital copy of newspaper advertisement.husrstbridge railway line -
Greensborough Historical Society
Photograph - Digital image, Frank Solomon, Briar Hill Timber 1, 2012c
Briar Hill Timber was situated on Sherbourne Road Briar Hill and operated as a timber yard for many decades from he 1950s. These photographs were taken by Frank Solomon and depict the business just prior to its closure in 2014.Digital copy of colour photographbriar hill timber -
Greensborough Historical Society
Photograph - Digital image, Frank Solomon, Briar Hill Timber 2, 2010c
Briar Hill Timber was situated on Sherbourne Road Briar Hill and operated as a timber yard for many decades from he 1950s. These photographs were taken by Frank Solomon and depict the business just prior to its closure in 2014.Digital copy of colour photographbriar hill timber -
Greensborough Historical Society
Photograph - Digital image, Frank Solomon, Briar Hill Timber 3, 2012c
Briar Hill Timber was situated on Sherbourne Road Briar Hill and operated as a timber yard for many decades from he 1950s. These photographs were taken by Frank Solomon and depict the business just prior to its closure in 2014.Digital copy of colour photographbriar hill timber -
Greensborough Historical Society
Photograph - Digital image, Frank Solomon, Briar Hill Timber 4, 2012c
Briar Hill Timber was situated on Sherbourne Road Briar Hill and operated as a timber yard for many decades from he 1950s. This photo shows the chimney, the only part of the structure still remaining. These photographs were taken by Frank Solomon and depict the business just prior to its closure in 2014.Digital copy of colour photographbriar hill timber -
Greensborough Historical Society
Photograph - Digital image, Frank Solomon, Briar Hill Timber 5, 2012c
Briar Hill Timber was situated on Sherbourne Road Briar Hill and operated as a timber yard for many decades from he 1950s. These photographs were taken by Frank Solomon and depict the business just prior to its closure in 2014.Digital copy of colour photographbriar hill timber -
Greensborough Historical Society
Document, Judith Dodd?, Peck's Dam history, 1900o
History of a parcel of land bounded by Bolton Street, Brougham Street, Main Road and Grand Boulevard purchased by Mr Orr around 1900. It may have been called Panorama Heights Estate, Montmorency Park and later, Orr's Park. Orr had a dam made, which was called Peck's dam by locals in the 1940s-1950s.2p. typescriptorrs park, montmorency, pecks dam -
Greensborough Historical Society
Oral History, Gloria Stevens nee Wightman, Interview with Gloria Stevens (nee Wightman), 1931o
Gloria Stevens' reminiscences of people and places in Greenhills from the late 1930s to early 1950s. Interviewers: Marilyn Smith and Dawn Bennetts.5p. black and white text plus photographsgreenhills, oral history, gloria stevens, gloria wightman -
Greensborough Historical Society
Article, Noel Withers, Greensborough identities, 1950s
Notes on Greensborough in the 1950s, includes local shops and identities.Brief family notes, typed text, includes handwritten notes.greensborough -
Greensborough Historical Society
Photograph - Digital image, Marilyn Smith, Greensborough Road Surgery, 10/07/2016
The Greensborough Road Surgery moved to this location in 1985 in response to increased demand for services. This building was built in the late 1950s.Digital copy of colour photographgreensborough road surgery, medical centre -
Greensborough Historical Society
Photograph - Digital image, Marilyn Smith, Greensborough Road Surgery, 10/07/2016
The Greensborough Road Surgery moved to this location in 1985 in response to increased demand for services. This building was built in the late 1950s.Digital copy of colour photographgreensborough road surgery, medical centre -
Greensborough Historical Society
Photograph - Digital image, Marilyn Smith, Greensborough Road Surgery, 10/07/2016
The Greensborough Road Surgery moved to this location in 1985 in response to increased demand for services. This building was built in the late 1950s.Digital copy of colour photographgreensborough road surgery, medical centre -
Federation University Historical Collection
Photograph - Little Gem tintype, Portrait of a 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, 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 -
Federation University Historical Collection
Photograph - Little Gem tintype, Possibly American Studio, Portrait of a child
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 -
Federation University Historical Collection
Photo - Little Gem tintype, Possibly American Studio, Portrait of a child
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 -
Federation University Historical Collection
Photograph - Little Gem tintype, American Studio, Portrait of a Woman
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 -
Federation University Historical Collection
Photograph - Little Gem tintype, Portrait of a 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, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .8)A tintype portrait of a man's head, attached to a card. The cheeks have been hand coloured.little gem -
Federation University Historical Collection
Photograph - Little Gem tintype, Possibly American Studio, Portrait of a Boy
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a child's head and torso, attached to a card. The boy is wearing a suit and the cheeks have been hand coloured.little gem -
Federation University Historical Collection
Equipment - Object, Otto Waschatz, Cast of Hand, Plaster Cast Drawing Prop
The Ballarat Technical Art School boasted a well-stocked Antique Room replete with plaster copies of classical, Renaissance and Gothic sculptural examples, which were used as drawing props by students. The school inherited some casts from its predecessor institutions, and further consignments were purchased during the 1920s, including full length, bust and relief figures, as well as dozens of ornamental and architectural casts. Unfortunately, much of the collection was lost or destroyed in the late 1950s. This is one of the few surviving pieces, with TAFE students reportedly drawing from it into the twenty-first century. This plaster hand is inscribed “Waschatz, Modeller, Melbourne.” Otto Waschatz was a German plasterer who opened a plaster business in the Melbourne suburb of Richmond, and was responsible for the invention of the first true fibrous plaster - using a layer of hemp laid between plaster to create light and strong panels. By 1912 Waschatz's Lottoid Pty Ltd was a thriving and creative business, and possessed over 5,000 moulds for all kinds of plasterwork. The business closed in 1915, as the result of anti-German sentiment during World War One. Plaster cast of a hand used as a teaching aid at the Ballarat Technical Art School. The Victorian Education Department courses required art students to create studies based on ancient sculptures so copies of famous works were purchased as teaching aids. Among these courses were 'Drawing the Human Figure from Cast' and ‘Drawing from the Antique’. Waschatz, Modeller, Melbourneballarat school of mines, art, arts academy, ballarat technical art school, vikki nash, plaster cast, otto waschatz, lattoid pty ltd, school of mines, plaster copy, drawing from the antique, drawing the human figure from cast -
Australian Jazz Museum
Musical Instrument, 1930 (estimated); "circa 1930s"
Played by Lou Silbereisen for recordings with Graeme Bell and His Australian Jazz Band in the late 1940s and 1950s. Played by Brian Carter from 1958 to the mid 1960s.Boosey & Hawkes is a British music publisher. Until 2003, it was also a major manufacturer of brass, string and wind musical instruments. Recording Brass Bass manufactured by Boosey & Hawkes circa 1930s. Played by Lou Silbereisen for recordings with Graeme Bell and His Australian Jazz Band in the late 1940s and 1950s. Played by Brian Carter from 1958 to the mid 1960s.lou silbereisen, recording brass bass, boosey hawkes, graeme bell and his australian jazz band, brian carter -
Supreme Court of Victoria Library
Portrait, Sir Edmund Herring, 1963
Sir Edmund Herring had a military career before becoming the Chief Justice of Victoria in 1944. Sir Edmund served as an artillery officer with the British Army in World War One and was awarded the Military Cross. While he returned to the Law between the wars, becoming King's Counsel in 1936, he continued his military associations through Australian Militia Forces, rising to colonel by the start of the Second World War. At the outset of WWII Herring was appointed as Commander of the Royal Artillery for the Australian Sixth Division. Herring saw service in North Africa and Greece and was in charge of Australian Northern forces in 1942, afterwards working with General Blamey in Papua New Guinea. Sir Edmund was appointed Chief Justice, straight from his army command in 1944. As Chief Justice he quickly established the Law Reform Committee and after the war oversaw the extension of the Supreme Court buildings, with the creation of new Courts. He was considered an able administrator, but his refusal to appoint Joan Rosanove a Queen’s Counsel throughout the 1950s, did not sit well with many legal practitioners. After his retirement from the Bench, he continued in his many public activities, including trustee of the Shrine of Remembrance and the Australian War Memorial and a member of the Melbourne Grammar School Council, as well as Lieutenant Governor of the State of Victoria, a position he held from 1945 to 1972. Herring was also an outspoken social critic; between the wars he had been a member of the White Guard, who were a far right group acting against communism. During the Cold War period of the 1950s, Herring spoke out in favour of the British Empire and the American alliance. The portrait of Sir Edmund Herring is the second one that Sir William Dargie (1912-2003), completed of Sir Edmund; his first effort in 1944/45 won the Archibald prize. Dargie won the Archibald prize a record eight times. His fame as a portrait painter was not without controversy, as he was considered ‘safe’ and the favourite of conservative sitters, particularly as many of his Archibald winners were of ‘Captains of Industry’. While no Archibald prize was awarded for this portrait, it is an interesting counterpoint to Dargie’s 1944/45 portrait. The portrait of Sir Edmund Herring is significant because of whom it portrays and the artist William Dargie who painted it.Portait in oils of Sir Edmund Herring. This is a half portrait of Sir Edmund in his red judicial robes. Gold leaf frame, with plaque.Plaque reads "The Honourable Sir Edmund Francis Herring, KCMG, KBE, DSO, MC, ED. Chief Justice of the Supreme Court 1944-1964"edmund herring, william dargie -
Supreme Court of Victoria Library
Portrait, Sir Edmund Herring, 1964
The portrait of Chief Justice Sir Edmund Herring is significant because of whom it portrays and who painted it. Sir Edmund Herring (1892-1982), had a military career before becoming the Chief Justice of Victoria in 1944. Sir Edmund served as an artillery officer with the British Army in World War One and was awarded the Military Cross. While he returned to the Law between the wars, becoming Kings Counsel in 1936, he continued his military associations through the Australian Militia forces rising to colonel by the start of the Second World War. At the outset of World War Two Herring was appointed as Commander of the Royal Artillery for the Australian Sixth Division. Herring saw service in North Africa and Greece and was in charge of Australian Northern forces in 1942, afterwards working with General Blamey in Papua New Guinea. It was at this time that Herring confirmed the death sentences of 22 Papuans who had been found guilty of murder and treason. Sir Edmund was appointed Chief Justice, straight from his army command in 1944. As Chief Justice he quickly established the Law Reform Committee and after the war oversaw the extension of the Supreme Court buildings, with the creation of new Courts. He was considered an able administrator, but his refusal to appoint Joan Rosanove a Queen’s Counsel throughout the 1950s, did not sit well with many legal practitioners. After his retirement from the Bench, he continued in his many public activities, including trustee of the Shrine of Remembrance and the Australian War Memorial and a member of the Melbourne Grammar School Council, as well as Lieutenant Governor of the State of Victoria a position he held from 1945 to 1972. Herring was also an outspoken social critic, between the wars he had been a member of the White Guard, who were a far right group acting against communism. During the Cold War period of the 1950s, Herring spoke out in favour of the British Empire and the American alliance. The portrait of Chief Justice Sir Edmund Herring is significant because of whom it portrays and who painted it. The portrait of Sir Edmund Herring is the second one that Sir William Dargie (1912-2003), completed of Sir Edmund, his first effort in 1944/45 won the Archibald prize. Dargie won the Archibald prize a record eight times.Portrait in oils of Sir Edmund Herring, Chief Justice of the Supreme Court of Victoria (1944-1964). Sir Edmund is seated, this is a half portrait, dressed in his red judicial robes. The sitter takes up most of the frame and there is very little extra information in the picture. signed lower left "Dargie'. Plaque with the following details : Sir Edmund Francis Herring, KCMG, KBE, DSO, MC, ED. Chief Justice of the Supreme Court, 1944-1964.judges, herring -
Ringwood and District Historical Society
Train Tickets, Victorian Railways, Ringwood and East Ringwood train tickets circa 1950s
Train tickets used from Ringwood to various locations and a pram storage ticket. See also 3334.Five train tickets:; 1. Blue Ringwood to Blackburn; 2. Ringwood to Geelong - half blue/half brown; 3. Ringwood East to Williamstown Pier- 2 tickets buff colour; 4. Storage ticket for a pram - buff with green central strip -
Ringwood and District Historical Society
Envelope, Packet: Eastwood and Ringwood East Primary Schools letters, clippings. Mostly 1920s - 1950s, 1920s to 1970s
Various letters Eastwood Primary School; Various letters Ringwood East Primary School -
Ringwood and District Historical Society
Biography, Ringwood and District Historical Society, Interview notes - short biography on Miss Daisy Paddock, teacher at Ringwood State School, circa 1970s, c.1970s
Single page of notes/interview record of Miss Daisy Paddock, teacher at the Ringwood State School in Greenwood Avenue (now Federation Estate) - Interview write-up by Ringwood History Group.Transcript: "Miss Janet Daisy Paddock She was an extremely well-liked and well-regarded teacher at the old RW State School in Greenwood Ave (Now Federation Estate). She taught between the years of 1927 until 1941, then again after the war from 1951 until final retirement in 1961. In fact she was so liked that her former pupils formed "The 2997 Club" , which met in her honour every year for a meal (and, of course, their guest of honour). 2997 was the RW SS number. In some of her letters about early life in RW, she recalls the RW Mail being produced and printed in a small wooden building in Adelaide St. [Adelaide St is officially no longer on the RW map but it went from the highway nearly to Mullum Creek, between Melbourne St and Warrandyte Road.^ In fact there is an unmarked 100 metres of road that is on the west side of Officeworks that ends in a roundabout at the bottom of Eastland carpark. I don't believe it is exactly in the same position as the old Adelaide Street but it pretty close. That would put the old Mail office in the vicinity of the Maroondah Council service centre in Eastland.] She also recalls that there were nearly a dam on every corner. In fact, I recall in my 1950s/60s childhood that there were still many dams around. As I previously mentioned, with the RW-Mitcham claybelt, there wasn't much top soil and the orange clay is very fine, so when the banks of the dam get wet, it wass very slippery. I often remember playing around in those dams, as most boys did in those days. A friend and I spied an old bath used to water some horses so after some trial and errors we made it waterproof and fashioned a couple of paddles out of wooden fence pailings. The first launch in the local dam was fine and we managed to manouver through the bullrushes into the middle. The only thing that I forgot about was that I had a d<^ that went everywhere with me and, rather than bark from the bank, he swam over to us and tried to get aboard. Bath tubs are not known for their seaworthness and he tipped us all in the drink. Of course the bath sank like a rock. We scrambled on the bank and he added insult to injury when, as all dogs do, gave the usual shake and sprayed us with water. My mind often comes back to one dam right next to the Croydon pub - that provided water to the Magg's orchard - dug in the usual fashion on about 3 metres deep scraped in the local clay, it was at this dam in the early sixties that a young boy drowned. After that we were pretty careful around dams. Going back to Daisy's memories, she recalls that the kids often started late on Monday mornings as Monday was Market Day at RW. They used to watch the stock being herded into the yards and people getting off the steam trains. Her family home was at Gruyere and her father used to drive to RW market and stop midway at the Burnt Bridge hotel and rest the horses. [I suspect that he may have watered other things besides the horses.] They eventually moved to RW in Thanet St. Miss Paddock still remembers the old RW school at the corner of RW St and Whitehorse Road, it was very small so they built the new school in Greenwood Ave. RW had a population of around 2,(K)0 when Daisy became an Assistant Class Five. She used to walk through the open paddocks, surrounded by bush and orchards. She goes on to say that the bush was alive with wildlife and a natural playground for the children. Miss Paddock was a member of the Soroptomist Club in RW (equivalent to Rotary), active in the church and local community. At our archives, we have a plaque that grac^ the entrance to the school, naming it the Miss Daisy Paddock library, in honour of a great woman in our city."