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Numurkah & District Historical Society
Slides / Photos / Brush/comb sets / Telescopic view photo set / Tie pin
All of these items were donated by Jock Adams (He was on the Ulupna Island Committee and hence some of the donated photosPhotos - Morgan's Beach, Coonanga Homestead, Barmah Hotel, Ulupna Island Slides - Moira Forest shrubs etc 2 x Brush comb sets Sword/Dagger Tie Pin King George V Coronation Stereo Telescopic View photo set (1911)jock adams, tie-pin, photos, brush-comb set, telescopic view photos, slides -
Numurkah & District Historical Society
Box Camera
Black leather-look covered box, with broken handle on the top with view finder, winder and viewfinder on the left-hand side,, Art-deco design on front with lens and two smaller glass lens 620Brownie -
Numurkah & District Historical Society
Box Camera
This camera has representative significance as a replica of a model used widely during the 1950's.Black box with handle, lens and film opening clip on upper face, view finder, lens open close shutter and winder on left hand side, Inner compartment opens outwardly with clip to store film. Yellow and red descriptive sticker on upper lid, Use Kodak 620 Films. Front face gray and sliver striped plate,Brownie Flash II Camera , Kodet Lens ,Kodak Australia Pty Ltd Melbourne Australiacamera, pictures, film, photography, kodak -
Numurkah & District Historical Society
Box Camera, Eastman Kodak Co
Black leather-leather look (Vinyl) rectangular box. Main lens and 2 viewfinder lenses on the front. Black leather handle, one view finder and metal opening latch on the top. One view finder and a winder key on the right hand side. Red film counter viewing window on the back, with markings (see below)No.2 Brownie / Use film No. 120 / Made in US by Eastman Kodak Co. Rochester NY -
Numurkah & District Historical Society
Expanding Concertina Camera
Leather covered camera, thin rectangle with curved ends (leather missing from expanding section). Concertina lens folds out by pressing button at the side, near film winder. Inside the hinged concertina section there is a lens, view finder and shutter button Camera has a leather case with long carry strap of similar size and shape. Original instruction manual inside carry caseCamera Case: E J Berry Bunyip Gippsland hand written inside Camera: Kodak on outside / No 1 pocket Kodak Series 2 Made in USA Eastman Kodal & co Rochester NY on inside -
Numurkah & District Historical Society
Expanding Concertina Camera
Black leather covered camera, thin rectangle with curved ends (leather missing from one curved end). Concertina lens folds out by pressing button at the side, near film winder, and manually pulling the concertina section outwards. Inside the hinged concertina section there is a lens, view finder and shutter button Camera has a brown leather case of similar size and shape, with long carry strapCamera Case: M Gunn Numurkah Victoria hand written inside Camera: Kodak on outside / No 1a Autographic Kodak Jr. Made in USA Eastman Kodal & co Rochester NY on inside camera, expanding, concertina, kodak -
Numurkah & District Historical Society
Map - Print in frame - Numurkah Township 1888, Supplement to the "Numurkah Standard" January 1888 View of Numurkah Victoria Australia
The late Hilda Morieson (very active in early Historical Society) owned the print. It was then passed on to Mary Morieson, then to Rosemary Kennet. It has been passed onto the Historical Society with permission from Ben Morieson, Hilda's grandsonLarge coloured print of supplement to Numurkah Standard 1888. Artist's view/impression of Numurkah streets (map) surrounded by artwork of a number of Numurkah businesses in the town and local district. The print is under glass in a faux-wood-grained framesee photo abovenumurkah standard, numurkah township map, numurkah businesses, 1888, print -
Old Colonists' Association of Ballarat Inc.
Book, Facsimile of Address From the Old Colonists of Victoria to H.R.H. The Duke of Edinburgh K.G, 1869
Blue hard covered 35 page book with an address, a reponse from Prince Alfred, and a number of signatures.To his Rotal highness Prince Alfred Ernest Albert Duke of Edinburgh K.G. &c &c &c May it please Your Royal Highness. We the undersigned, being Colonists of Victoria wirh expressions of a Century and upwards venture to approach you Royal Highness with expressions of unaltered loyalty to Her Majesty's throne and person, and our very sincere and heart congratulations to your Royal Highnedd on your auspicious visit to his distant dependency of the British Empire. We can confiently assure your Royal Highness that however attractive Republicans Institutions may be to many young communitites generally Victoria is in the main free from the taint of any such prediliction. The loyalty and attachment to Monarchial Government of those numbered amonst her older Colonists have been strenghtened bu their enlarged and by the deep connection ever increasing with their ripening years that their material interests will be best protected by the perpetuation of the intimate connexion with the Great Empire over which Her Majesty rules - an Empire the Language, Laws, Customs and Institutions of which it is their privelige to inherit. We may be allowed to esteem the visit of your Royal Highness to these shores as of teh utmost importance, regarded from the Imperial as well as from a Colonial point of view. Your Royal Highness has now had an opportunity of satisfying yourself, and may bear testimony on your return to Europe that the Colonists of Victoria, although they have left their Mother COuntry, have not lost the spirit of enterprise, the energy, the self-reliance, the love of law and order which distinguish the British Race - and that in common with their fellow countrymen at home they possess qualities, the possessoin of which by her peple has made England great and glorious amongst the nations - while your presence here proves to the Colony at large, be especially to our Colonial born youth that Her Majesty 's solicitude for our welfare is unabted. Wish a sincere hope that the visit of your Royal Highness to the other COlonies of the Australian Group may be gratifying to you, and your ultimate return to the Royal Circle safe and attended with every happiness. We beg leave to remain, With the greatest respect, Your Royal Highness' Most humble and most obedient servants, Signature Date of arrival in the Colony. Edward Henty Novr 19th 1834 Francis Henty Decr 9th 1834 John Pascoe Fawkner Oct 9th 1835 Many ignatures follow including John Wilson Novr 1841 Joseph Bickett 27 September 1842 Theophilis Dredge January 1839 Archibald Fisken August 1839 Samuel Legge April 1841 David Coghill March 1838 Joseph L'Estrange 1849 December Thomas W. Wills Dec 1839 James Cuthbert November 1840 John Lamb May 1838 John Hogan November 1839 William Higgenbotham Born Oct 19th 1840 Richard Winter January 1840 Alexander Aitken Born Melbourne June 30 1842 William Cross Yuille February 1837 George Black Decr 1840 Peter Scott Sept 1840 Robert Hoddle March 1837 Henry Darlot September 1839 W. Bacchus 1837 C.B. Hutton Feby 17th 1842 H. Gerrard Feby 1839 Thomas P. Scott 10 August 1838 William Rutledge 19th Decr 1829 in Sydney, at Melbourne in July 1838 Rodk Urquhart March 1842 Thomas Black Septr 1842 J.B. Were November 1839 Thomas Anderson 1839 John Bull June 1842old colonists, prince alfred, address, edward henty, francis henty -
Mt Dandenong & District Historical Society Inc.
Photograph, View from Mt Dandenong Observatory Car Park. 1953
Photograph taken from the Observatory car park at Mt Dandenong in 1953. Now the site of the Sky High restaurant. House in foreground. Photograph taken by Sydney Walter Jackson.On back of photograph: Mt Dandenong Country Aug53mt dandenong, mt dandenong observatory -
Mt Dandenong & District Historical Society Inc.
Photograph, Man In Omnibus Cabin At Sunnyside, c1915
View of John Garibaldi Roberts sitting, reading inside one of the old omnibuses at his country home Sunnyside in South Sassafras (now Kallista).sunnyside, south sassafras, j g roberts, tram car, tram, omnibus -
Federation University Art Collection
Painting - Artwork, Trudi Harley, 'Fallen' by Trudi Harley, 2009
Trudi HARLEY Born Korumburra, Victoria Born in country Victoria Trudi Harley graduated with a Bachelor of Education (Art and Craft) at Victoria College, Burwood. After teaching for 10 years in both Government and Independent schools in Melbourne she worked as a Sales Executive and Art Educator for Cavalier Art Supplies for 16 years. Recently Trudi Harley completed a Bachelor of Arts (Visual Arts) (Honours) with Distinction between 2008 – 2009, and a Master of Arts (Research), Visual Art between 2010 – 2012 at the University of Ballarat (now Federation University). Maintaining an artistic practice while in a business partnership Trudi Harley owns and runs Atelier Art Supplies in Williamstown, Victoria, which is a major supporter of the arts in the western suburbs of Melbourne/ This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Artist's Statement: As an artist am continually drawn to ‘what makes us who we are’ and as a result the work, whatever it may be, is a reflection on what makes me who I am. In this I refer to perception, experience and memory as aspects that contribute to our sense of reality. By using these references I intend to engage the audience and develop a sense of connection and community through the visual image. ‘Fallen’ was not necessarily a reflection on my own life but of life in general as I recall at the time I had a family member who was struggling to cope with their own reality. I can also recall at the time reflecting on the adage ‘walk a mile in my shoes’ and the pressures we all face in life. Added to this were my own influences of upbringing, I have always been particularly drawn to fabrics and patterns as my mother was/is (getting a little old now) a seamstress and my father was a bit of a ‘perfectionist’. During my honours study I came across the term ‘Esperpento’ which included such visual elements as exaggeration and unusual viewpoints. Fallen was a comment on the psychology associated with expectations in life, or more importantly those expectations placed on offspring by their parents. This painting reflected the consequences of not living up to those expectations. It is unfortunate that in life, by the time you get to the point of realising that you have the opportunity to set your own standards, that you’ve probably embodied a great many set of values by osmosis and that you’ve now claimed them as your own. The view is from above to dramatize the subject, the figure placed compositionally in the top right hand corner to open up the picture plane and allow for the narrative to continue outside the visual area of the canvas. It was also in this painting that I rubbed back some of the darker oil paint to allow the lighter underpainting to show through.art, artwork, trudi harley, harley, carpet, portrait, self-portrait, alumni -
Kew Historical Society Inc
Postcard, The Port of Liverpool : The "Empress of Russia" at Prince's Landing Stage, c.1928
Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.The Port of Liverpool. Coloured postcard. The postcard was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928."The Port of Liverpool : The "Empress of Russia" at Prince's Landing Stage"postcards, george and edith weir, the port of liverpool, postcards -- liverpool -- england (uk), weir collection -
Kew Historical Society Inc
Postcard, The Port of Liverpool : Canada Basin, Langton, and Alexandra Docks, c.1928
Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.The Port of Liverpool. Coloured postcard. The postcard was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928."The Port of Liverpool : Canada Basin, Langton, and Alexandra Docks"postcards, george and edith weir, the port of liverpool, postcards -- liverpool -- england (uk), weir collection -
Kew Historical Society Inc
Postcard, The Port of Liverpool : Canida and Huskisson Docks, Looking South, c.1928
Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.The Port of Liverpool. Coloured postcard. The postcard was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928."The Port of Liverpool : Canida and Huskisson Docks, Looking South"postcards, george and edith weir, the port of liverpool, postcard series -- liverpool (uk), weir collection -
Kew Historical Society Inc
Postcard, The Port of Liverpool : Nelson, Bramley-Moore, Sandon Half-tide, Huskisson and Canada Docks, c.1928
Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.The Port of Liverpool. Coloured postcard. The postcard was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928.postcards, george and edith weir, the port of liverpool, postcards -- liverpool (uk), weir collection -
Kew Historical Society Inc
Postcard, The Port of Liverpool : R.M.S. "Mauretania" Entering Sandon Half-tide Dock, c.1928
Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.The Port of Liverpool. Coloured postcard. The postcard was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928.postcards, george and edith weir, the port of liverpool, postcards -- liverpool, weir collection -
Kew Historical Society Inc
Postcard, The Port of Liverpool : Langton Graving Docks, c.1928
Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.The Port of Liverpool. Coloured postcard. The postcard was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928."The Port of Liverpool : Langton Graving Docks"postcards, george and edith weir, the port of liverpool, postcard series -- liverpool (uk), weir collection -
Kew Historical Society Inc
Postcard, A Glimpse of Bonnie Scotland, c.1928
Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.Coloured postcard of highland scenes produced as part of the "Fine Art" Series. Valentines Series. The postcard was purchased by George and Edith Weir on a trip to England and Scotland, circa 1928."To Jack / From Inverness 21-8-1928"postcards, george and edith weir, postcards -- scotland (uk), weir collection -
Kew Historical Society Inc
Postcard, A Highland Chief, c.1928
Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.Coloured postcard of highland scenes produced as part of the "Fine Art" Series. Valentines Series. The postcard was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928."A Highland Chief"postcards, george and edith weir, postcards --- scotland (uk), weir collection -
Kew Historical Society Inc
Postcard, Atlantic Hotel and War Memorial, Newquay, c.1928
Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.Atlantic Hotel and War Memorial, Newquay, Cornwall. The postcard was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928."Atlantic Hotel and War Memorial, Newquay"postcards, george and edith weir, atlantic hotel - new quay, war memorial - new quay, postcards -- newquay (uk), weir collection -
Kew Historical Society Inc
Postcard, J Salmon, Souvenir Letter Card of Clovelly, c.1928
Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.Souvenir Letter Card of Clovelly containing eight hand-coloured postcards, joined concertina-like, published and produced by J. Salmon, Art Publisher, Sevenoaks especially for G. S. Reilly, The Art Store, Clovelly. The letter card was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928.SOUVENIR LETTER CARD OF CLOVELLY / PRODUCED AND PUBLISHED BY J SALMON, ART PUBLISHER, SEVENOAKS / SPECIALLY FOR G S REILLY, THE ART STORE, CLOVELLYpostcards, george and edith weir, postcards -- clovelly (uk), weir collection -
Kew Historical Society Inc
Postcard, Valentine's Series, River Mersey - Through Wind and Wave, c.1928
Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.River Mersey - Through Wind and Wave. One of a set of three [originally six] 'High Class Postcards of Memories of the Mersey, Beautifully Reproduced in Nature Colours', in their original brown envelope.The postcard was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928. postcards, george and edith weir, river mersey, postcards -- england (uk), weir collection -
Kew Historical Society Inc
Postcard, Valentine's Series, River Mersey - The End of the Voyage, c.1928
Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.River Mersey - The End of the Voyage. One of a set of three [originally six] 'High Class Postcards of Memories of the Mersey, Beautifully Reproduced in Nature Colours', in their original brown envelope. The postcard was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928."River Mersey - The End of the Voyage"postcards, george and edith weir, river mersey, postcards -- uk, weir collection -
Kew Historical Society Inc
Postcard, Valentine's Series, River Mersey - Outward Bound, c.1928
Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.River Mersey - Outward Bound. One of a set of three [originally six] 'High Class Postcards of Memories of the Mersey, Beautifully Reproduced in Nature Colours', in their original brown envelope. The postcard was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928."River Mersey - Outward Bound"postcards, george and edith weir, river mersey, postcards -- uk, weir collection -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, Scene Near the Yarra Flats, c. 1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.21 / ‘Scene near the Yarra Flats’ / Albumen silver photograph mounted on board.Inscription on reverse: ‘The scenery in the vicinity of the Yarra Flats is of a very varied character. In some places the River winds its way through flat open country, with scarcely a shrub on its banks; and in others the scenery is of the wildest description. The stream being impeded in its course by fallen timber, is not so rapid here as at other places. The present illustration is a characteristic one of the above place.’nicholas caire, australia - landscape photography -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, Scene at Healesville, c. 1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.24 / ‘Scene at Healesville’ / Albumen silver photograph mounted on cardOn Reverse: ‘After leaving the villages of Lilydale and S. Hubert the scenery commences to assume a very wild and romantic appearance. The country becomes exceedingly undulatory, and the belts of densely packed scrub, present altogether a very different appearance from the more settled and cultivated districts. Our illustration is taken from one of the many creeks which surround the rising township of Healesville.’nicholas caire (1837-1918), australia - landscape photography -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, Scene on the River Campaspe, c. 1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.25 / ‘Scene on the River Campaspe’ / Albumen silver photograph mounted on boardOn Reverse: ‘The River Campaspe flows into the River Murray, near the Town of Echuca. It is a river of considerable size, and is subject to frequent overflowing of its banks, in consequence of the low flat country through which it runs. Our illustration represents the River during one of the periodical floods, its depth being over thirty feet at the time.’nicholas caire (1837-1918), australia - landscape photography -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, The Erskine River Waterfall, c. 1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The 60 photographs that comprise the series were issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘The Erskine River waterfall’ : Views of Victoria (General Series) No.52 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The River Erskine, which empties itself into Loutitt Bay, is noted for the grandeur of its scenery. Its sources, owing to the impenetrability of the bush and the mountainous nature of the country, are unknown. They may eventually be traced a long way into the Cape Otway Ranges. An idea of the difficulty with which the present very beautiful illustration was obtained may be gained from the fact that it took our assistants, several days to convey the apparatus a distance of six miles and back. The depth of the fall is 150 feet. The foliage as seen comprises the very rare staghorn tree, the myrtle, the dogwood tree, and ferns.’nicholas caire (1837-1918), lorne (vic), erskine river (vic), landscape photography -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, Cumberland Creek, near Point Sturt, c. 1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The 60 photographs that comprise the series were issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘Cumberland Creek, near Point Sturt’ : Views of Victoria (General Series) No.59 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The Cumberland Creek is so named from the close resemblance it bears to the place bearing that name in the mother country. The present illustration represents the precipices and hills which surround the Cumberland Creek. The soil around the hills is mostly sandstone rubble, hence the only vegetation identical with the spot is the inevitable sword grass and salt scrub, which frequently exist where no other vegetation can be found.’nicholas caire (1837-1918), landscape photography -
Kew Historical Society Inc
Postcard, Collins Street East, Melbourne, c.1912
Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.The eastern part of Collins Street. Coloured postcard of early Melbourne. Weir collection."Collins Street East, Melbourne"postcards, collins street - melbourne, george and edith weir, weir collection