Showing 585 items
matching bendigo photographer
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Ballarat Tramway Museum
Photograph - Black & White Photograph/s, 8/01/1956 12:00:00 AM
Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo of No. 17 to Belmont (right) and No 18 to West at the intersection of Moorabool and Ryrie Streets 8-1-1956. Photographer unknown. In the background is the Bank of New South Wales Building and a gifts building. The pole in the centre has a bar traffic light. Has written in ink on the rear "Intersection Ryrie and Moorabool Sts 8/1/56, Geelong"trams, tramways, geelong, ryrie st, moorabool st, tram 17, tram 18 -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, 8/01/1956 12:00:00 AM
Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo of No. 18 turning out of Pakington St into Aberdeen St, last day of operations 8-1-1956. Photographer unknown - same as 5854. Shows the arrangement of the overhead and curves at this intersection. Has written in ink on the rear "No. 18 city bound from West to East, turning from Packington St into Aberdeen St 8/1/56. Next day was buses."trams, tramways, geelong, east, west, pakington st, tram 18 -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, 8/01/1956 12:00:00 AM
Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo of Moorabool Street looking south from Malop St, last day of operations 8-1-1956. Photographer unknown - same as 5854. Has two trams turning at Ryrie St. In the background is the T&G building, a Chemist and Solomons. Has written in ink on the rear "Looking south along Moorabool St from Malop St."trams, tramways, geelong, moorabool st -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, Wal Jack, Jun. 1939
Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo of No. 22 at the Geelong Railway Station. Photographer unknown - possibly Wal Jack - see date on Reg Item 5861. Wal's album notes dates the photo as June 1939. Printed on Kodak Velox paper. The tram has two trolley poles, the destination of Newtown. A conductor is standing in one of the doorways. i1 - scan of print in the album i2 - rear of image i3 - scan of negative at 3200dpi added 6/6/2020. trams, tramways, geelong, railway station, tram 22 -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, Wal Jack, Jun. 1939
Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo of No. 22 at the Geelong Railway Station. Photographer unknown same as 5859 - possibly Wal Jack - see date on Reg Item 5861. Wal's album notes dates the photo as June 1939. Printed on Kodak Velox paper. The tram has two trolley poles. i1 - scan of print in the album i2 - rear of image i3 - scan of negative at 3200dpi added 6/6/2020. trams, tramways, geelong, railway station, tram 22 -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, Wal Jack, Jun. 1939
Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo of No. 23 at the Geelong Railway Station with the station buildings in the background. Photographer unknown - handwriting is the same as other photos such as Reg item 5850.. Wal's album notes dates the photo as June 1939. Printed on Kodak Velox paper. The tram has two trolley poles and the destination of Newtown. i1 - scan of print in the album i2 - rear of image i3 - scan of negative at 3200dpi added 6/6/2020. Has the rear in ink "Geelong Tramways, No. 23 "Two man trams", built by A. Pengelley South Australia"trams, tramways, geelong, railway station, tram 23 -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, 14/01/1947 12:00:00 AM
Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo of MMTB Maximum Traction Car No. 118 being unloaded in Corio Terrace 14 Jan 1947. Tramcar became No. 31. Tram is on jacks, with one set of bogies under the tram. Has a number of wood blocks lying alongside. Tram 118 has the wartime white stripes on the tram. No destination box, windows lowered and trolley poles removed. Tram No. 26 is behind with a destination of Newtown. No details on photographer. trams, tramways, geelong, unloading, bogie trams, corio terrace, transporting trams, tram 118, tram 26, tram 31 -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, Wal Jack, May. 1949
Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo of Car No. 32 and single trucker 22, Moorabool St. No. 32 has the destination of North, No. 22 Belmont. In the background is the Bank of New South Wales, Geelong Nursery Nook, McGills, Hotel Cullen. Photo May 1949. No details on photographer though there is an initial on the photograph. i1 - scan of print in the album i2 - rear of image i3 - scan of negative at 3200dpi added 27/6/2020.On rear in pencil "Geelong May 1949, 32 and 22 new and old, 8 wheeler and 4 wheeler, North & Belmont, Coming and Going / Moorabool St / Ryrie St in the foreground."trams, tramways, geelong, ryrie st, moorabool st, bogie trams, tram 32, tram 22 -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, 24/06/1949 12:00:00 AM
Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo of Geelong No. 34 in the No. 2 shed of Geelong with Wal Jack, S. Stephens and Ken Train alongside. Tram has the destination of West. See also Reg Item 7831 for the subsequent photo. No details on photographer. On rear in ink "SEC Geelong Tys, MT bogie tram No. 34 ex MMTB standing in paint shop 24/6/49. Alongside being Messrs W. Jack, S. Stephens and K. Train" Also photo information 5.4:122, 1/25 sec @50ft."trams, tramways, geelong, depot, tram 34 -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, 8/01/1956 12:00:00 AM
Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo of Geelong 35 in front of No. 5, from the Beach terminus, in Corio Terrace, last day of Service 8-1-1956 outside the depot. No. 35 has the destination of Chilwell No details on photographer. On rear in ink "No. 35 in front of No. 5 at depot enroute from Eastn Beach terminus 8/1/56"trams, tramways, geelong, depot, corio terrace, tram 35, tram 5 -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, 8/01/1956 12:00:00 AM
Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo of Geelong No 31 bound for North Geelong at Railway station junction, Malop and Mercer Streets 8/1/1956. General view of junction in the area with a Olympic tyre / service station No details on photographer. On rear in ink "No.31 bound for North Geelong at Railway Stn Junc Malop and Mercer Streets 8/1/56"trams, tramways, geelong, north, railway station, malop st, mercer st, tram 31 -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, 8/01/1956 12:00:00 AM
Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo of Geelong No 35 in Ryrie St, at Gheringhap St with destination of Chilwell, on the last day of service on this line. Has a bar traffic light in the photo and R. J. Stokes store. 8/1/1956. No details on photographer. On rear in ink "No.35 Chilwell bound in Ryrie St opposite Gheringhap St, Post Office Corner Geelong 8/1/56"trams, tramways, geelong, last day, ryrie st, traffic lights, tram 35 -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, c1950
Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo of an illuminated street sign, lamp, at the North Geelong terminus. Photographer not known, c 1950. Sign has the words "Geelong Electric Tramways / Destination? / No. 3 Terminus"On the rear in ink "Illuminated terminal sign"trams, tramways, geelong, signs, north -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, Wal Jack, 1940
Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photograph of the Geelong Scrubber, sprinkler or water tram in Corio Terrace 1940. Photo has a large "blotch" in the negative over the tramcar itself. No details as to photographer. Printed on Kodak Velox Paper, but negative located in the Wal Jack negative envelopes. i1 - scan of print in the album i2 - rear of image i3 - scan of negative at 3200dpi added 18/6/2020.On rear is "35-" in penciltrams, tramways, geelong, corio terrace, scrubber tram, sprinkler tram, scrubber, water tram, sprinkler -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, c1930
Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photograph of the Geelong Scrubber, sprinkler or water tram at the wharf. Tram lettered "Geelong Tramways", possibly prior to SEC takeover, c1930. Printed on Kodak Paper. Photographer unknown. On rear in ink "Geelong Tramways Water car"trams, tramways, geelong, wharf, scrubber tram, sprinkler tram, scrubber, water tram, sprinkler -
Federation University Historical Collection
Photograph - Little Gem tintype, Portrait of a Woman in a Hat
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) A tintype portrait of a woman's head and shoulders, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography -
Federation University Historical Collection
Photograph - Little Gem tintype, Portrait of a Woman in a hat
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 woman's head, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography -
Federation University Historical Collection
Photograph - Little Gem tintype, 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, 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) .3) A tintype portrait of a woman, attached to a card. little gem, tintype, woman, unidentified woman, women -
Federation University Historical Collection
Photograph - Little Gem tintype, American Studio, Portrait of a Woman, (exact)
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card.Printed lower left hand side of the card "American Studio, 324 Geo. St."tintype, american studio, woman, unidentified woman, women, photograph -
Federation University Historical Collection
Photograph - Tintype, Portrait of two young girls
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) .2) A tintype portrait of two girls heads, attached to a card. The girls are wearing a cloak with a large bow at the frontlittle gem, women, children, photography, tintype -
City of Greater Bendigo - Civic Collection
Photograph - Portrait, Vincent Kelly, Mrs W. Ewing Mayoress 1925-26
... photographer City of Bendigo Mayoress Portrait Vincent Kelly ...Prior to the election of female Councillors and Mayors in the 1960’s, The Lady Mayoress role was one of the few ways women could be active in civic life. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and at times, international level. They also undertook some Mayoral duties on occasions when their husband was unavailable. Mayoress Ewing was born Victoria Keighley in East Melbourne. Her father Edward Keighley was one on the district's earliest mine managers and part owner of the Rose of Denmark Mine. Framed, oval photographic studio portrait. Hand coloured detail.Mrs W Ewing / Mayoress 1925 - 26 / Vincent Kelly / Bendigovictoria keighley, mayoress ewing, mayor ewing, vincent kelly photographer, city of bendigo, mayoress portrait -
City of Greater Bendigo - Civic Collection
Work on paper - Photograph, W H Robinson, Druids Sandhurst Lodge No. 247, 01 / 11/ 1910
Druids are known to exist from around the 3rd century B.C. Their name may have come from a Celtic word meaning “knower of the oak tree.” Many of their ceremonies were carried out in oak groves, which they considered sacred and members were, at that time a mix of priest, judge, doctor and philosopher. The Druids enjoyed a revival in the 19th century and were taken up enthusiastically during the Victorian era. Druidry was believed to have been introduced into Australia in 1851 with the setting up of the first lodge in Melbourne under the name United Ancient Order of Druids. Unlike the Freemasons, the Druids were not a secret society and were not selective in who they let in, as long as they paid their dues and acted more like a benevolent society than a spiritual movement. "They originally operated when there were few benefits available from the government or employers and the introduction of sick leave and other employer provided benefits, combined with the gradual introduction of government subsidised medicine, caused the need for them to diminish." Druids House — in Swanston Street, was opened by the Lord Mayor in 1927 and was designed to be the movement's national head office. It was completed at a cost of 19,000 pounds. This photograph was believed to have been commissioned by the Druids of Bendigo to the Licensees of the Queens Head pub where they regularly met, situated on the corner of the Bendigo-Maryborough Rd & the Calder Alternate Hwy ( Lockwood Cross Roads). The old Marong Council offices were situated opposite from 1864 until around 1908 when new offices were then built in Marong. It is believed that this photograph and a photo of the pub were given to Marong Shire by descendants of the publicans, probably in the 90’s. Framed black and white group photographic portrait of 37 members of the Sandhurst Chapter of the Druids staged and shot outdoors. Each of the gentlemen is carrying a bouquet of flowers. The photograph has a gold inner mount with the second mount cut to give the impression of a frame. The outer mount is hand painted with botanical motifs and elaborate text c.t. DRUIDS Sandhurst Lodge/ No 247. l.c Presented to Mr and Mrs Chadwick / Lockwood / in recognition for kindness rendered.W. G. Robinson / Photo and J.H. Gribble / Long Gully / 1,11,10robinson photographer, j.h.b. gribble artist, chadwick, shire of marong, city of greater bendigo portraits, city of greater bendigo community groups -
City of Greater Bendigo - Civic Collection
Photograph - Portrait, Reg Brock, Mrs E.F. Granger Mayoress 1948 - 49, c 1949
... Mayor Granger Reg Brock Photographer City of Bendigo City ...Elizabeth Enid Granger (nee Webster) born Eaglehawk (1906-1965).Framed, oval photographic studio portrait. Hand coloured detail. Glass domed, photograph is flat. cl; Mrs E F Granger / Mayoress 1948 - 9. lr: Reg Brockelizabeth webster, mayoress granger, mayor granger, reg brock photographer, city of bendigo, city of greater bendigo portraits -
City of Greater Bendigo - Civic Collection
Photograph - Portrait, Vincent Kelly, Mrs J.A. Michelsen Mayoress 1935 -36, c. 1936
... Michelsen Vincent Kelly Photographer City of Bendigo City of Greater ...Prior to the election of female Councillors and Mayors from the 1960’s onwards the Mayoress role was one of the few ways women could be active in civic life. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and at times, international level. They also undertook some Mayoral duties on occasions when the Mayor was unavailable. Annie Irene Michelsen (nee Tussup) born Huntly (1870-1955). Mayoress 1926/1927, 1935/1936, 1942/1943. Wife of Cr John Andrew Michelsen OBE. Pioneer in the field of social work and regarded as a woman of tremendous vitality and versatility. Known as an outstanding horse woman and breeder of standardbreds for harness racing. Member numerous sporting clubs and foundation president of the Bendigo Nurses Association. Framed, oval photographic studio portrait. Hand coloured detail. Mrs. Michelsen wore a gown of black crepe eros, cut to mould the figure and fall into a train at the back. A cascade eflect of gold lame from one shoulder to the hem in front gave graceful movement to the front of the gown, and wing draperies lined with gold lame were shirred to the shoulders of the square neckline. She wore a shoulder spray of golden orchids and carried a bouquet of old gold roses and golden leaves (1). The Argus (Melbourne, Vic. : 1848 - 1957) Wed 3 Jun 1936 annie tussup, mayoress michelsen, mayor michelsen, vincent kelly photographer, city of bendigo, city of greater bendigo portraits -
City of Greater Bendigo - Civic Collection
Photograph - Portrait, Vincent Kelly, Mrs F.C. Niemann Mayoress 1932 - 33
... Niemann Mayor Niemann Vincent Kelly photographer City of Bendigo ...Prior to the election of female Councillor's and Mayors, the Mayoress role as wife of the Mayor, was one of the few ways women could officially undertake civic duties. Mayoress's played an important role in civic life through charity work, even stepping in on occasions to undertake Mayoral duties. Mayoress Niemann was born Ethel Emily May Harding in 1880 in Geelong and died in Canberra in 1959.Framed, oval photographic portraits with convex glass and print, created using a collodion wet plate process. Hand coloured detail.Verso; signed Vincent Kelly 1ethel harding, mayoress niemann, mayor niemann, vincent kelly photographer, city of bendigo, city of greater bendigo portraits -
City of Greater Bendigo - Civic Collection
Photograph - Portrait, Vincent Kelly, Mrs E.G. Batchelder Mayoress 1928 - 1929, c. 1929
... Photographer City of Bendigo City of Greater Bendigo Portraits Vincent ...Prior to the election of female Councillors and Mayors in the 1960’s, the Lady Mayoress role was one of the few ways women could be active in civic life. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and at times, national level. Mayoresses were also required to undertake Mayoral duties on occasions when their husband was unavailable. Mayoress Batchelder was born Elizabeth Helen Wilkinson and is recognised for her work among the poor of the district. Art NouveauFramed, oval photographic portraits with convex glass and print, created using a collodion wet plate process. Hand coloured detail.Mrs E.G. Batchelder / Mayoress 1928 - 1929 / Vincent Kelly / Bendigoelizabeth wilkinson, mayoress batchelder, mayor batchelder, vincent kelly photographer, city of bendigo, city of greater bendigo portraits -
City of Greater Bendigo - Civic Collection
Photograph - Portrait, Vincent Kelly, Mrs A.J. Anderson Mayoress 1941 - 1942, 1942
Prior to the election of female Councillors and Mayors from the 1960’s onwards the Mayoress role was one of the few ways women could be active in civic life. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and at times, international level. They also undertook some Mayoral duties on occasions when the Mayor was unavailable. Mayoress Anderson was born Mary Gittins at Sandhurst in 1872 and was the daughter of William Bromley Gittins and Susan Horwood. She was Mayoress from 1941 - 42.Framed, oval photographic studio portrait of Mrs A.J Anderson. Hand coloured detail.Mrs. A.J. Anderson / Mayoress 1941 - 42 / Vincent Kelly / Bendigomary gittins, mayor a.j. anderson, vincent kelly photographer, mayoress mary anderson, city of greater bendigo portraits, city of bendigo -
City of Greater Bendigo - Civic Collection
Photograph - Portrait, Mrs A.S. Craig Mayoress 1956-57, 1963-64, 1973-74, c 1956
... Washington Photographer City of Bendigo City of Greater Bendigo ...Prior to the election of female Councillors and Mayors in the 1960’s, the Lady Mayoress role was one of the few ways women could be active in civic life. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and at times, international level. They also undertook Mayoral duties on occasions when their husband was unavailable. Mayoress Craig was born Grace Adeline and was a highly respected teacher at Bendigo Girl's School and Bendigo High School. Grace Craig was the first lady to have an official part in the traditional induction of Mayor ceremony. Framed, oval photographic studio portrait. Hand coloured detail.Mrs A.S. Craig / Mayoress 1956 - 57 / 1963 - 64 / Eric (? aslington )grace adeline, mayoress craig, mayor craig, washington photographer, city of bendigo, city of greater bendigo portraits, lansell pendant -
City of Greater Bendigo - Civic Collection
Photograph - Portrait, Vincent Kelly, Mrs W.M. Bolton Mayoress 1936 - 1937
... Photographer City of Bendigo City of Greater Bendigo Portraits Vincent ...Prior to the election of female Councillors and Mayors in the 1960’s, The Lady Mayoress role was one of the few ways women could be active in civic life. Mayoresses made important contributions to their local communities through their charity work and as ambassadors for their region on a state and at times, international level. They also undertook some Mayoral duties on occasions when their husband was unavailable. Mayoress Bolton was born Jemima 'Mina' Vance in White Hills in 1866. She died on 7th December 1946 aged 80 years. Mayoress Bolton was an ardent worker for charitable bodies, particularly Baby Health Centre and Children's Welfare department. Framed, oval photographic portraits with convex glass and print, created using a collodion wet plate process. Hand coloured detail.jemima vance, mayoress bolton, mayor bolton, vincent kelly photographer, city of bendigo, city of greater bendigo portraits -
Ballarat Tramway Museum
Photograph - Black and White photograph - mounted, Ellen Eustice, 30/10/2011 12:00:00 AM
Demonstrates the work of the Ballarat Tramway Museum and has a strong association with the photographer and photo competition.Mounted digital print of SEC Ballarat Tram No. 14 outside the BTM Depot, 31/10/2011 - photographed by Ellen Eustice. Made for the Ballarat Agricultural and Pastoral Society 2011 show, printed on Fujifilm paper. Exhibit 5. Tram has the destination of Drummond St North, and the Bendigo Bank roof advertisement. Details of photograph on the front and rear of the photograph.trams, tramways, btm, depot, showgrounds, tram 14