35mm colour positive transparency (1 of 9) Mount - Kodak KodachromeProcess Date MAY 88Mrural areas, shire of eltham, unidentified

35mm colour positive transparency (1 of 9) Mount - Kodak KodachromeProcess Date MAY 88Mrural areas, shire of eltham, unidentified

35mm colour positive transparency (1 of 9) Mount - Kodak KodachromeProcess Date MAY 88Mrural areas, shire of eltham, unidentified

35mm colour positive transparency (1 of 9) Mount - Kodak KodachromeProcess Date MAY 88Mrural areas, shire of eltham, unidentified

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 13) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 13) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 13) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 13) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

Montsalvat, Eltham, c.May 198835mm colour positive transparency (1 of 19) Mount - Kodak KodachromeProcess Date MAY 88Minfrastructure, roads, rural areas, shire of eltham

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する　東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama

Negative copy and associated print of detail from original Sales Brochure: Plenty Township Estate and Bryn Teg Hill's Estate, Coghill & Haughton, Melbourne (c.1924)Roll of 35mm Black and White negative film, 3 strips, (1 of 14 frames) Print 10 x 15 cmFilm - Agfa Ortho 25bryn teg hill's estate, coghill & haughton, sales brochure, lower plenty, plenty river

Roll of 35mm colour negative film, 3 strips Kodak GA100 5095infrastructure, roadworks - gutters, shire of eltham, streets

One of a series of postcards of photographs taken by socialite photographer Nicholas John Caire. N.J. Caire had a great love for the area and in the late 1800's took many photographs of Marysville and its surrounds.One of a series of postcards of photographs taken by socialite photographer 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. POST CARD This Space may be used for Correspondence (FOR ADDRESS ONLY) Orange one penny postage stamp with an image depicting Queen Victoria Date stamp/ 8.3.06/ 4AM/ MELBOURNE/ 14 7.3.06 My Dear Em/ I received your kind/ note and will be very pleased/ to go out & see you tomorrow/ but cannot say what/ train I will catch as/ I do not know how/ they run. I will try/ not to miss the train/ though. I heard Vic was/ down will be glad to see/ her love to you both/ Yours in health Mary. Mrs Tribeau/ "Hazel Dell"/ Connell Street/ Hawthornwatt's river, fernshaw, victoria, nicholas john caire, postcard, souvenir