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Marysville & District Historical Society
Photograph (Item) - Black and white portrait, John William Lindt, 1870s
A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt -
Marysville & District Historical Society
Photograph (Item) - Black and white portrait, John William Lindt, 1870s
A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt -
Marysville & District Historical Society
Photograph (Item) - Black and white portrait, John William Lindt, 1870s
A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt -
Marysville & District Historical Society
Photograph (Item) - Black and white portrait, John William Lindt, 1870s
A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt -
Marysville & District Historical Society
Letter (Item) - Hand written letter, John William Lindt, 1903
A letter written to Maurice Keppel by John William Lindt in 1903.A letter written to Maurice Keppel by John William Lindt in 1903. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913. Maurice Keppel, from Ireland, was one of the first landholders in the newly surveyed town of Marysville in 1864. He and his wife ran the successful Keppel’s Australian Hotel. Two of their sons, John and Jerry, established a farm and opened up the surrounding high country. The Keppel lease was one of the longest held in the high country and the Keppel Family were amongst Marysville's pioneering families.maurice keppel, keppel family, keppel's australian hotel, marysville, victoria, john william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt -
Marysville & District Historical Society
Artwork, other (Item) - Pencil Sketch, Louis Buvelot, Fernshaw 17.2.83, 1883
A copy of an early pencil sketch of Fernshaw in Victoria.A copy of an early pencil sketch of Fernshaw in Victoria by Louis Buvelot. Louis Buvelot ( 1814–1888), born Abram-Louis Buvelot, was a Swiss landscape painter who lived 17 years in Brazil and following 5 years back in Switzerland stayed 23 years in Australia, where he influenced the Heidelberg School of painters. Arriving in Melbourne in February 1865, after leaving the cold of Switzerland, which was impacting on his health, for the warmth of Australia, Buvelot was in business as a photographer in Bourke Street for a year but soon resumed his painting. He lived in Melbourne for a number of years before moving to Fitzroy. The National Gallery of Victoria purchased two of his paintings and he continued painting until his death in 1888. He was buried at the Boroondara Cemetery, where a large monument was erected in his memory. Fernshaw was a rural township 63 km northeast of Melbourne and 10 km northeast of Healesville. Situated on the Watts River, near where a log had fallen making a convenient crossing, Fernshaw was settled in the 1860s. It provided good country for orchards and berry growing. The location was at the foot of Blacks Spur, with Mounts Juliet and Mondah rising on either side, providing spectacular scenery. There were nearby fern gullies giving rise to the name – ‘shaw’ is old English for thicket or wood. By 1875 Fernshaw had a post office (1865), two hotels, a school (1871), and stores. It was famed for its beauty, attracting tourists. In 1886 the Melbourne and Metropolitan Board of Works began work on the Watts River water catchment scheme – later to become Maroondah – and the Board obtained approval for the catchment country to be reserved and kept free of settlement. This required the removal of the Fernshaw township, which was completed by about 1890.Fernshaw 17.2.83louis buvelot, fernshaw, victoria, national gallery of victoria, switzerland, boroondara cemetery, kew cemetery, artist -
Marysville & District Historical Society
Photograph (Item) - Black and white photograph, Fred Kruger, Scene on the Watts River near Fernshaw, Unknown
A copy of a black and white photograph on the Watts River near Fernshaw in Victoria.A copy of a black and white photograph on the Watts River near Fernshaw in Victoria taken by Fred Kruger. Fred Kruger (born Johan Friedrich Carl Kruger, 18 April 1831 – 15 February 1888) was a German-born photographer noted for his early photography of landscape and indigenous peoples in Victoria, Australia. Fernshaw was a rural township 63 km northeast of Melbourne and 10 km northeast of Healesville. Situated on the Watts River, near where a log had fallen making a convenient crossing, Fernshaw was settled in the 1860s. It provided good country for orchards and berry growing. The location was at the foot of Blacks Spur, with Mounts Juliet and Mondah rising on either side, providing spectacular scenery. There were nearby fern gullies giving rise to the name – ‘shaw’ is old English for thicket or wood. By 1875 Fernshaw had a post office (1865), two hotels, a school (1871), and stores. It was famed for its beauty, attracting tourists. In 1886 the Melbourne and Metropolitan Board of Works began work on the Watts River water catchment scheme – later to become Maroondah – and the Board obtained approval for the catchment country to be reserved and kept free of settlement. This required the removal of the Fernshaw township, which was completed by about 1890.fernshaw, watts river, victoria, fred kruger, photograph -
Marysville & District Historical Society
Postcard (item) - Black and white postcard, George Symons, Country Bakery, MARYSVILLE, VICTORIA, AUSTRALIA, 1990's
An early photograph of a miner and his family standing outside their tent in the Australian bush.An early sepia photograph of a miner and his family standing outside their tent in the Australian bush. This postcard was produced by George Symons as a souvenir of Marysville.AUSTRALIAN/ yesteryear/ CARDS P7 CORRESPONDENCE ADDRESS IN THEIR SUNDAY BEST c. 1880 A miner's family dressed in their Sunday best/ outside their tent dwelling./ Despite the difficulties of tent life the woman/ has brought her touch to the camp and is still/ able to dress her family immaculately for their/ Sunday stroll down the track. Photographer Unknown A sepia tone facsimile of/ an early Australian photographmarysville, victoria, mining life, australia, george symons, postcard, souvenir -
Marysville & District Historical Society
Photograph (Item) - Black and white photograph, Nicholas John Caire, Views of Victoria, Unknown
... by Nicholas John Caire. Photograph shows the Keppel's Australian Hotel ...An early black and white photograph of the main road in Marysville in Victoria taken by Nicholas John Caire.An early black and white photograph of the main road in Marysville in Victoria showing the Keppels Australian Hotel which was built and opened by the Keppel Family in 1865. The Keppels Australian Hotel was the first hotel to be opened in Marysville. The Keppel Family were among Marysville's earliest pioneering families. This photograph was taken by Nicholas John Caire. N.J. Caire had a great love for the area in and surrounding Marysville and in the late 1800's took many photographs of Marysville and its surrounds. N.J. Caire was born in 1837 in Guernsey. He arrived in Adelaide about 1860 along with his parents who encouraged his early interest in photography. He opened a studio in Adelaide in 1867 after traveling extensively throughout the Gippsland taking photographs. After marrying in 1870 he moved to Talbot in Victoria until 1876 when he opened a studio in the Royal Arcade in Melbourne. After 1885 N.J. Caire gave up his city work and made his home in South Yarra and devoted the rest of his life to outdoor photography, specializing in the bush, the gullies and the mountains of south-eastern Victoria. N.J. CAIRE, PHOTOGRAPHER ROYAL ARCADE, MELBOURNEmarysville, victoria, keppels australian hotel, keppel family, nicholas john caire, photograph -
Federation University Historical Collection
Photograph, Orange, 1990s
A mounted black and white photographs of a Sunikist navel orange. If you are able to provide information on the photographer or photography please use the comment box below. photography, tafe photograph, orange, navel orange, sunkist -
Federation University Historical Collection
Photograph, Apple (Study in Light), 1990s
A mounted black and white photographs of an apple. If you are able to provide information on the photographer or photography please use the comment box below. photography, tafe photograph, apple, fruit -
Federation University Historical Collection
Photo Album, Williams Studios, University of Ballarat, Graduation Cermonies, 14th December 2005, 2005
Blue Album with black spine and back cover. Blue tooled plastic section on front cover gold stripe outline.Printed label showing title and name of photographer on front cover.university of ballarat, graduation, terry lloyd, kerry cox, posthumous graduation -
Federation University Historical Collection
Photograph, Neville Bunning, Black and White Photgraph of Garden Urns
Neville Bunning wasa lecturer in Ceramics at the UniversityBlack and White photograph of garden urns made by Neville Bunning and R Edkins.Stamped on the back with N. Bunning, R Edkins. Medina Studio 227 George Street Third Floor. H. Hasenpflug Art Photographer Wembley Chambers Hunter & Phillip St. Sydney B1456r. edkins, h. hasenpflug, photograph, black and white photograph, garden urns, medina studios, neville bunning -
Federation University Historical Collection
Document - Document - Letter, Ballarat Junior Technical School: Reference for Roylance Barrie Hughes for R.A.A.F.,1956
Reference from Ballarat Junior Technical School for Roylance Barrie Hughes. Satisfactorily gained his Junior Technical Certificate in 1953. Proved to be a boy of good character. After leaving school had experience in photographic work and a suitable candidate for apprenticeship as a photographer in the R.A.A.F. Cream paper, typed ballarat junior technical school, headmaster, l garner, roylance barrie hughes, character reference, academic reference, photographic work, apprenticeship, r.a.a.f., photographer -
Australian National Surfing Museum
Book, Andrew Crockett, Switch-foot (surfing art music), 2005
Switch-foot is a classic publication out of Australia 2005. This 210 page hardcover book has many of the immortal surfing images from the golden era in surfing from photographers such as Albe Falzon, George Greenough and Jack Eden. Stories from: George Greenough looking at his simple genius and his movie magic with ‘Dolphin Glide’ and ‘Behind the Scenes.’ The unmasking of the truth behind Peter Drouyn, 12 legends of the Lens (images from the golden era) The telling of Dick Van Straalen’s story and his current relationship with Dave Rastovich The art of Harry Daily Global surf travel with Colas Thomas Campbell drops by Rasta and friends music with the exploration into the mystery of the art of jamming Discussions about sustainable surfcraft production with Tom Wegener, the unveiling of new school talent within music and photography and also talking to important leaders in the field of classic surfing to gather information on surfboard design, single fin surfing and fin dynamics. Music from low pressure sound systems in the story titled ‘the art of jamming’ A significant publication that explores art, photography and music in surfing culture.Switch-foot (surfing art music) is a hard copybook of surfing photography with a black cover featuring 5 art panels and one panel with text. 'Switch-foot surfing art music'.ISBN 0-646-45057art, surfing, jack eden, switchfoot, music, surf photography, alby falzon, george greenough, peter drouyn, dolphin glide, dick van straaleen, jim banks, peter crawford, mark richards -
Australian National Surfing Museum
Video Clip, Bells Beach - Big Easter Sunday 1965
On Easter Sunday 1965 competitors in the Bells Beach Surfing Contest were greeted with the sight of 15-18 foot waves marching into Bells Beach. Riding 9-10 foot boards with no legropes the bravery of many surfers was challenged on this day. A day when reputations were made.Easter Sunday 1965 went down in Australian surfing history as the day when the largest waves were ridden in a surf contest outside of Hawaii. It was a significant day in establishing the reputation of Bells Beach as a big wave surfing location.Bells Beach - Big Easter Sunday 1965 is a short video which features an interview with Torquay surfer/photographer Barrie Sutherland describing the huge surf at the 1965 Bells Beach Surfing Contest. The video also features a number of photographs by Barrie Sutherland taken on Easter Sunday 1965. Duration: 03.28 Available as an MP4 Video. Surf World Museum logo, Bells Gold logo -
Australian National Surfing Museum
Photograph, Jack Eden, Sylvia Hoogeveen - Warrilla Championships, Circa 1965
... edition, collection of images created by noted Australia surf ...Black and white photograph taken by Jack Eden of Sylvia Hoogeveen surfing at the 1965 Warrilla Championships. Hoogeveen is a goofy foot surfer riding an 8 foot plus longboard.Rare photograph of a female surfer competing at regional surfing contest in 1965. The photograph is part of a limited edition, collection of images created by noted Australia surf photographer Jack EdenBlack and white photograph by Jack Eden of Sylvia Hoogeveen riding a surfboard in 1965.Black and white framed photograph signed by Jack Eden (number 10) jack eden, sylvia hoogeveen, warrilla beach, 1965 warrilla championships -
Australian National Surfing Museum
Photograph, Jack Eden, Gary Birdsall 'Midway', Cronulla 1959
This photo by Jack Eden shows Gary Birdall leaning against his car at Cronulla Beach in 1959. Gary was a favourite with photographers during this period. A photograph of him charging huge Cronulla Point featured on the cover of The Atlantics record BOMBORA.This photograph is of natiuonal significance showcasing one of the most talented young surfers to come out of Cronulla in the early sixties. Gary Birdsall competed in many of the first surfing contests around Australia and today is an accomplished artist.Black and white photograph of Sydney surfer, Gary Birdsall leaning against a car with his back facing the ocean at 'Midway' Cronulla Beach, Sydney.jack eden, gary birdsall, cronulla point -
Australian National Surfing Museum
Photograph, Photographer Unknown, Peter Townend and three surfboards, circa 1976
This is a rare colour photograph of Australian surfer Peter Townend in Hawaii with three of his surfboards from his World Championship Year, 1976. Townend shaped the two surfboards he is holding.Two of the three surfboards Peter Townend is holding appeared on the cover of American surfing magazines - SURFER vol 15 #5, January 1975 and SURFER vol 18 #1, May 1977.Colour photographpeter townend, surfer magazine, -
Bendigo Military Museum
Book - BOOK, POW’s, ABC Enterprises Sun Books, Changi Photographer
Covers the experiences of Australian Prisoners of War with the Japanese. Paperback cover with photo of Keppel Harbour on front. Photo of Selerang Barracks with red background on back. 144 pages, white with black & white photos & printing. military history-army, books-history, photography, pow’s -
Bendigo Military Museum
Photograph - PHOTOGRAPH WW2, Walker Photographers, C.1940
Original owner of photo was Eric Harry FINCH, Reg No VX38567.Black & white photo of unknown Military Unit. Photo taken at Mittagong, New South Wales, Australia in 1940.Handwritten in white bottom right: “WALKER photo”photographs, military, unit -
Kiewa Valley Historical Society
Camera Box Brownie, 4/8/1925
This item represents a period in time when there was the start by manufacturing industry for targeting the medium to lower socio and economic strata of the purchasing public. It was the beginning of cheaper mass produced items for the non professional (photographer in this instance) recreational minded public. The availability of low cost items was required by an ever increasing population hungering for the "do it yourself" amateur.This camera was owned by Margaret (Peg) Shefford nee Turner, who retired to Mount Beauty in the mid 1980s. The camera was purchased in 1920 and used up to the 1940's when her her daughter, Midge Clooney used it. When the Shefford family emigrated from England to Australia (1953), it was used to take photos of the ship voyage.This item is a Campfire Box Brownie. Model "F". It is a black vinyl covered tin box shell. It has a short leather hand strap (110mm) (stamped "BROWNIE") on the top side of the box, fastened by a metal stud at each end. There are two clasps holding the front and rear sides. Viewer (photo frame number) and lens (apertures) are on opposite sides.Stamped within a circular section on the back section is "No 2 BROWNIE" underneath,"MODEL F" in smaller letters "MADE IN CANADA BY CANADIAN KODAK Co., Limited, TORONTO, ONT". a smaller circle within has "USE KODAK FILM No_ 120"portable camera, photography, hobby, low cost camera -
Ararat & District Historical Society (operating the Langi Morgala Museum)
Postcard, Maker not known, ca mid-20C
This postcard shows a display of posters and educational materials relating to health education taught at the Pathfinder school, created by local professional Mary NormanBail. This is one of a collection of several hundred photos, books, documents and teaching aids donated to Langi Morgala Museum by Jessica Norman-Bail (or by her estate). Almost all the collection relates to Jessica's mother, the photographer, artist and educator Mary Norman-Bail, and to Mary Norman-Bail's Pathfinder School, which was located in Ararat for several years in the first half of the twentieth century. Black & white postcard featuring a display of health education teaching materials. The display is on a cloth covered table. The rear of the postcard is handwritten text. "This is some of the / work that brought / credit and honour / to the school. / Through the Australian / Boradcasting / Commission. / You cannot see the / books very well / but they are beautifully / illustrated and are / at present being / sent round the schools / in Japan. / M.Norman Bail / S.A.P.F. / Ararat Vic." pathfinder, normanbail, health education -
Bendigo Military Museum
Photograph - PHOTOGRAPH, FRAMED, Wong Photographer, 1969
The photo relates to S/SGT FRANCIS WILLIAM (DINKY) DEAN BEM, VX93960 2nd AIF, 3742 1 RAR. Refer 124.2 for service details also 123.5, 125.4, 366P.Photograph, framed, black & white group portrait of Australian Senior NCO's in shorts & long trousers, slouch & peak caps. Most are wearing campaign ribbons. One Officer, Lt Colonel of Regiment is absent. Named are Senior NCO's of IRAR & CO of the Battalion. IRAR Sergeants Mess, Malaysia 1969.photography-photographs, frame accessories, military history- army -
4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Calendar 1999, War Photographers and Their Images, 1999
Commemorative calendarcalendar -
Frankston RSL Sub Branch
Photograph
Postcard size photograph of three Australian Army servicemen taken during World War 1. There is a note on the rear of the postcard "George Laidlaw left William Knight centre and A Kettlewell Original 15 Battalion Queensland 1914 to 1918 War". The rear of this postcard has the photographers name, "P MATHEWSON & SONS PETRIE BIGHT BRISBANE" and the handwritten note "George Laidlaw left William Knight centre and A Kettlewell Original 15 Battalion Queensland 1914 to 1918 War".ww1, world war 1, 15th battalion, 15th btn, queensland, australia, australian, army -
Frankston RSL Sub Branch
Photograph
Posed studio photograph of Private A. C. Hill in Australian Army uniform. This photograph is printed in typical post card style by the photographer, Wilkie & Son, King St., Cork, Ireland. The reverse side of this post card is a letter to his wife dated 6th June, 1917 and posted from Cork, Ireland. (refer item 00325). -
Frankston RSL Sub Branch
Photograph, 'F' Company, 5th Battalion
A black and white photograph of the 111 men (including three officers) of 'F' Company of the 5th Battalion, Australian Imperial Force, World War 1. The photograph is one of a series taken at Broadmeadows Army camp by a Melbourne photographer by the name of Darge. This photograph is mounted on board and is complete with a wood grain effect printed board frame.The frame is marked "F" Coy, 5th Battalion, A.I.F. and has the photographers name and address.world war 1, ww1, aif, army, -
Kiewa Valley Historical Society
Photographs of small box originally used to contain sensitized photographic paper
The Junction Dam and Clover Dam Power Station, stages of the Kiewa Hydro-Electric Scheme, were needed to meet the increased power demands of the wartime industry in Victoria. Clover added 26 megawatts to the grid. Junction Dam was completed and ready to hold water by September 1943, but was emptied in December 1943 and not filled again until May 1944. Construction of Clover Power Station commenced in July 1941 and both turbines were in service by May 1945.Clover Power Station and Junction Dam were part of the Kiewa Hydro Electric Scheme constructed by the State Electricity Commission of Victoria. SECV official photographers took photographs of most stages of construction of the Hydro Electric Scheme and referenced each photo with a number and dating system as an historical record and for reference for other projects. This provided a thorough history of the construction of the Hydro Electric Scheme, some of the workers involved in its construction and the infrastructure supporting its construction, such a Bogong Village.Small light brown cardboard box originally containing sensitized photographic paper, now containing a range of black and white photographs of the Kiewa Hydro Electric System taken by the official SECV photographer Box has some damage – Front panel on lid is missing. Top has a puncture in top right corner and some peeling of paper along sides and at edges. Printed on the top of the box in black ink: OPEN ONLY IN PHOTOGRAPHIC DARK ROOM SENSITIZED PAPER Manufactured by – KODAK (A/asia) PTY. LTD. Melbourne Australia Green and white sticker on right side of lid and bottom right side of box, torn at join 1. 1B1 Single Weight Soft. Available in Soft (1) Medium (2) Contrast (3) Extra Contrast (4) Single and Double Weight Stamped at bottom of sticker in grey ink G8087 CK photographic paper box; state electricity commission of victoria; official photographer; kiewa hydro electric scheme; clover power station; junction dam; bogong village -
Ringwood and District Historical Society
Photograph, Ringwood's first post office showing first postmistress, Miss M. Thompson. 1890
Typed below photograph, "Ringwood's first Post Office showing first Postmistress, Miss M. Thompson and her mother. 1890". (South side of Main Street (Maroondah Highway), approximately 300 meters west of Ringwood Railway Station). Writing on back of original photograph reads, "Grandma and Auntie Martha Thomson 1890". Stamps on back of photograph read, "Wall Bros. Photographers ... St. Kilda". Other stamp reads, "R.J.T. Futcher, Geelong, Victoria, Australia".