Sepia Photograph of a man wearing suit, clerical collar and hat, standing with right hand resting on a motorbike (identified in the inscription as a Triumph)."Rev. Fr. Martin Gleeson Curate Linton about 1918 F O'Beirne Triumph".transport, motorcycles, fr martin gleeson, priests, st peter's catholic church linton

Used in European Theatre on WW I by German soldiers - collected by Charles Honybun during his WW I service in France.Rectangular, brass-coloured belt buckles with central medallion of crown surrounded by inscription and leaves. (.2 with portion of leather belt attached).1. GOTT MIT UNS (NA4962.2) 2. IN TREUE FEST (NA4962.1)world war i, mitcham rsl, charles henry honybun

S025.1 Black leather oblong box with white and blue satin lining containing S025.2 a black handled silver trowel with an inscription."Presented to Fred J. Cato Esq by the builders and trustees of the Eltham Methodist Sunday School Oct 3rd 1931 Jude 2"cato, f. j., eltham methodist sunday school

Used by Colin Sach during his employment as Manager of the Chemistry Dept. at the University of Melbourne over a period of forty years.Manufacturing History Museum Victoria Commentary: Australian manufacturing history Philip Wollen Many years ago, when I was an ambition young man, I took over a company called Hecla.|This business was formed in 1872, long before Federation was even contemplated. The company established a rich tradition in the Australian manufacturing industry. The prodigious product range included kettles, mixers, toasters, hairdryers, urns, pie warmers, bain maries, and electric blankets for the domestic and commercial market. During the war it even manufactured parts for aircraft. It was one of Melbourne's largest employers.|Hecla was one of the pioneers in TV advertising, led by icons like Bert Newton, Bobby Limb, Evie Hayes and Graham Kennedy who ad Jibbed his way through irreverent and unscripted naughtiness about Hecla electric blankets and foot warmers. The slogan was 'By Hecla, its good1'. One can imagine the fun Bert and Graham had with their double entendres.|In the 60's Hecla entered into a partnership with General Electric and expanded rapidly. The massive factory, on the corner of Alexandra Parade and Chapel Street overlooking the Yarra River was a Melbourne landmark.|The business was formed by one of the scions of Melbourne industry. Mr Marriott was a metal worker of some repute, building the lights in front of Melbourne's Parliament House, the first steam car, the sideboard at the RACY Club, and the first factory to run on electricity.|By the time I acquired the company it was a shadow of its former self, incapable of competing with cheap Chinese imports. Wandering around the warehouse late one night I discovered a large, boarded up storeroom which appeared not to have been opened in decades.|Over several months I combed through the room, unearthing a treasure trove of products from a bygone era. Dusty files, engineering drawings, wooden prototypes, patent records, and correspondence from distributors on every continent.|I decided to track down an old man, Ray, long retired after 50 years with Hecla. He was not well off financially and welcomed the paid work. It turned out that he had done his apprenticeship with the company and there wasn't much he didn't know about it. He had been personally involved in the manufacture of almost every type of product on the Hecla smorgasbord's of products.|So for over 2 years he methodically assembled a mini museum of Hecla products, painstakingly polishing them and ensuring they were in working order. He attached the original brochure of each product and their respective warranty cards. For him it was ,a labour of love. For me it was a fascinating, if vicarious journey, into Australia's manufacturing past.|My colleagues complained that I was wasting money on his salary, our time and factory space on stuff that should have been dumped years ago. I tried to explain that I was merely a steward of the Hecla tradition, not merely an owner. Besides, the look on Ray's face convinced me that there was another dynamic at work. One I could see, but didn't really understand.|After he Passed away I faced a dilemma. What to do with this 'museum' of Hecla history. Nobody was interested.|So I kept the 'stuff' in private storage, hoping that same day someone would be interested in it. And the years passed.|Finally, I had a brainwave. Perhaps the Melbourne Museum would be interested. It was a long shot but I made the call. I had a nagging suspicion that they would think I was simply trying to get them to relieve me of paying for this huge collection to be taken to the tip.|To my surprise they said they would be willing to take a look, I secretly hoped that they would take the whole collection and not leave me with an incomplete jumble of appliances that I would indeed have to take to the tip.|On the appointed day, four serious looking young people showed up. Armed with digital cameras, note books and poker faces they spent four hours analysing the goods and the supporting materials. I asked them if they had any interest and their response was decidedly non-committal. It depends on the acquisitions committee, I was told. I was disheartened and packed up the exhibits to go back into storage.|Imagine my surprise when months later they telephoned to say that they had researched the history of the company, and yes, they would like to take the whole collection. And a truck with 'handlers' would arrive the following day to pick it up. Two years ago all Hecla's archives left me forever and went to the Museum's warehouse.|Well, to my delight I received a call yesterday inviting me to a private viewing of the exhibition at the Melbourne Museum. These young historians had meticulously assembled an impressive display of Melbourne's industry and technology going back to the 1800's. They thanked me like a significant benefactor when it is I who should have thanked them.|I saw the excitement in the eyes of these young people who had somehow managed to dig out and assemble memories from Australia's past. If this is the standard of care that the curators of the Melbourne Museum show all their exhibits, our history is in safe hands.|Their meticulous work took me back to those years long ago when I saw an old man lovingly assembling and cataloging a lifetime of his work.|It took me back to the day when Australians actually made things. Long before we became a nation of quarrymen. Before we became animal-factory 'farmers'. Of a time when products didn't break down, or dumped and replaced before the warranty expired. When men like Mr Marriott cared deeply about what their hands produced.|It reminded me of the call I received from an elderly lady in Tasmania asking for the electrical element for a Hecla K7 kettle. I searched the archives and called her back. The K7 was produced decades earlier and we no longer carried that spare part. She was quite disheartened and told me her kettle had finally 'given up the ghost' and she couldn't bear to part with it. It was a present from her husband on their wedding day 45 years ago. Her final words were 'they don't make them like that, do they? By Hecla they were good1'|I'm glad I followed my instinct and put Ray back on the payroll all those years ago..|I like to think Mr Marriott would have been pleased.Square metal box with electrical elements inside. Used to stand on or to put feet on when sitting. Elaborate pattern in centre with inscription.Hecla Foot Warmerdomestic items, heating

J & G Meakin was an English pottery manufacturing company founded in 1851 and based in Hanley, Stoke-on-Trent, Staffordshire. In the 19th century, J & G Meakin was known for the vast quantities of cheap ironstone china it produced for the domestic English market and export to Australia, Canada, New Zealand, and the United States and one of these pottery lines was called "EMPRESS" and was in production through the 1930s. From around 1970, designs included Liberty, Sterling, Trend, Classic, and Heirloom. Some of these were influenced by earlier designs. The newer wares can be distinguished by back stamp markings such as 'permanent colours', 'everlasting colour', or 'dishwasher proof'. J & G Meakin had close family and corporate affiliations to the potteries Johnson Brothers, and Alfred Meakin Ltd, which explains why many patterns are similar, if not almost the same. There was a takeover by J. & G. Meakin in 1968 of Midwinter Pottery. The firm was then taken over by the Wedgwood Group in 1970. In 2000 production under the Meakin name ceased and their long-established works, Eagle Pottery, was then used for the production of Johnson Bros pottery. Eagle Pottery closed in 2004 when production was transferred abroad; the works were demolished in 2005.Item is significant as today the "EMPRESS" china pattern from the 1930s by Meakin is today a collectable item and a good example of the Meakin range of china.Plate china white oval with a pattern inscribed along the edge Inscription to base "EMPRESS" warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, staffordshire potteries, iron stone pottery, serving dish

The Loch Ard got its name from ”Loch Ard” a loch which lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition in. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. Broken off end section of the Yard-arm from the Loch Ard. Artefact Reg No LA/33.Inscription Loch Ard flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, yard-arm

Collection of World War One PhotosCollection of Post/Greeting cards collected by a Lara family from World War OneDark Blue Photo album A3 (20 Pages) containing greeting cards/photos taken during the the First World War. Some cards are coloured. Cards show various scenes from England, Belgium, Malta, Sudan, Egypt and AthensNo inscriptions or marking on the covergreeting post cards album brussels athens egypt sudan cartoon

Sextant belonging to Walter Harbord (Wal or Wally) (b.1923 in Brisbane-d.), master mariner in the Merchant Navy on British Phosphate Commission ships. According to the website SLide Rule Museum this is the Flying Fish 1017 Chemical V2 Walter was interviewed by the Australian at War Film Archive in 2003. He served on these ships: SS Corinda SS Macumba SS Mildura SS Nellor SS Ormiston SS ReynellaSextant in wooden boxInscription in Chinese on the boxanne rennie collection, wal harbord, merchant navy, seamen, seafarers, ww2, battle of the atlantic, walter harbord, nautical instrument, navigation, slide rule, flying fish 1017

Unknown at this stageAnsett Hostess hat. Navy blue basket-weave nylon narrow-brimmed sunhat style with rounded crown. 1.5cm interior grosgrain ribbon bandNo inscriptions or identifying marksansett airlines of australia, hostess / stewardess, sunhat, navy

"G & G" Trademark - globe showing Australia. 12 inches and millimetres"T Thorley" inscription

Grave Marker - “Moray” Private CemeteryInscription James Brownstawell

Cog spanner used for maintenance on a sheering hand piece. This particular spanner belong to Maurice Dalton who was the foreman of the show floor of the Dennys Lascelles building until his retirement after 34 years at the company. Maurice used the cog spanner in his work as a wool classer in rural Victoria and New South Wales.Three prong spanner, two prong look like spanners while the third has two small metal prongs extending from flat metal arm edge. Hole is present in the middle where the three prongs meetInscription. Lettering: LISTER

Hat badge.gold coloured alloy. with Crown in centre. of Rising Suninscription __. THE AUSTRALIAN ARMY.

First years of International Housesee BWP000117_Reverse for inscriptionsstudents, 1959

15 min black and white 16 mm film, no sound. Begins with shots of trees in the bush and piles of cut logs beside a track before moving to a group of men standing by a car with 'Operation Firewood' on the boot. A road sign indicates 'Nathalia 6 1/2', 'Numurkah 22', 'Picola 3'. 'Katunga' and 'Barmah'. Shots of an empty Austin flat bed truck with 'Legacy Operation Firewood', poster on the drivers door covering the truck company name,and other empty flat bed trucks parked along a country town street which looks unsealed. A shot of a wooden sign saying 'Euroa Please slow down' follows with the Legacy car travelling very slowly past it before we see a large group of men throwing up logs onto a nearly fully loaded truck, and then a partially loaded truck with men on the flat bed stacking the logs. Five trucks are shown fully loaded and a crowd of men are gathered around a table. A circular saw (with no safety guards!) is being used to cut the bigger logs into a manageable size for splitting before being loaded by a lot of men of varying ages. The film then moves to the city where we see three men riding on the back of a moving fully loaded truck, before it stops to deliver the cut but unsplit logs to a delighted widow and her children. The logs are hurled into her front garden as a well dressed man photographs the proceedings. Other deliveries follow to further widows, but it is not clear who is going to split the logs, some of which are extremely large. The film ends showing a line of empty trucks, and a fenced city area with a sign saying 'Melbourne Legacy Firewood' holding further a supply of logs. 15 mins 07 sec. Legatees delivered firewood annually until 1995 to widows to help them through the winters in a project called 'Operation Firewood' . See also Cat. No. 000848.A record of Legacy helping widows with supplying and stacking firewood. When open fires were the main source of heating a load of firewood, and help moving it, would have been very important to the widows.Metal Kodak film cannister, silver coloured, with 'Firewood' label on outer casing.No inscriptions on internal film. operation firewood, widows

Standard issue to soldiers serving in WW1.This canteen was carried by Laurence Stoneman’s great uncle during his service, WW1.Lidded metal water container, covered in felt faded fabric. Leather shoulder strap broken. Lid removed is a small cup with ring handle. Leather around canteen intact. Lid looped through leather strap. There are no markings or inscriptions visible.ww1, canteen, water bottle

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 25 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. Inscription on page illegiblehenry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 25 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. Inscription on page illegiblehenry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 25 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. Inscription on page illegiblehenry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 25 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. John Chapman has written in 'Bushwalking Clubs - A Brief History', about the establishment in Victoria of the first bushwalking club in 1888, and the popularisation of bushwalking during the interwar period. Henry Christian's 'walks' appear to have been undertaken solely or with a companion/s. Here two walkers pose in front of a large boulder.Inscription on page illegiblehenry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums, bushwalking

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 25 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. John Chapman has written in 'Bushwalking Clubs - A Brief History', about the establishment in Victoria of the first bushwalking club in 1888, and the popularisation of bushwalking during the interwar period. Henry Christian's 'walks' appear to have been undertaken solely or with a companion/s. Here the photographer takes a distant shot of a valley filled with mist and distant mountains which are framed by trees in the foreground.Inscription on page illegiblehenry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums, bushwalking

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 25 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. John Chapman has written in 'Bushwalking Clubs - A Brief History', about the establishment in Victoria of the first bushwalking club in 1888, and the popularisation of bushwalking during the interwar period. Henry Christian's 'walks' appear to have been undertaken solely or with a companion/s. Here the photographer takes a snapshot of a winding dirt track/road, thickly forested with native vegetation. The photograph is emblematic of the journey. Inscription on page illegiblehenry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums, bushwalking

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 25 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. John Chapman has written in 'Bushwalking Clubs - A Brief History', about the establishment in Victoria of the first bushwalking club in 1888, and the popularisation of bushwalking during the interwar period. Henry Christian's 'walks' appear to have been undertaken solely or with a companion/s. Here the photographer takes a snapshot of mountains and valleys.Inscription on page illegiblehenry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums, bushwalking

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 26 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. John Chapman has written in 'Bushwalking Clubs - A Brief History', about the establishment in Victoria of the first bushwalking club in 1888, and the popularisation of bushwalking during the interwar period. Henry Christian's 'walks' appear to have been undertaken solely or with a companion/s. Here the photographer takes a snapshot of one of the bush tracks on which he walked.Inscription on page illegiblehenry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums, bushwalking

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 26 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. John Chapman has written in 'Bushwalking Clubs - A Brief History', about the establishment in Victoria of the first bushwalking club in 1888, and the popularisation of bushwalking during the interwar period. Henry Christian's 'walks' appear to have been undertaken solely or with a companion/s. Here the photographer takes a snapshot of a river that he passed.Inscription on page illegiblehenry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums, bushwalking

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 26 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. John Chapman has written in 'Bushwalking Clubs - A Brief History', about the establishment in Victoria of the first bushwalking club in 1888, and the popularisation of bushwalking during the interwar period. Henry Christian's 'walks' appear to have been undertaken solely or with a companion/s. Here the photographer takes a wooden bridge across a river.Inscription on page illegiblehenry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums, bushwalking

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 26 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. John Chapman has written in 'Bushwalking Clubs - A Brief History', about the establishment in Victoria of the first bushwalking club in 1888, and the popularisation of bushwalking during the interwar period. Henry Christian's 'walks' appear to have been undertaken solely or with a companion/s. Here the focus of the photograph is of distant mountains and mist-filled valleys.Inscription on page illegiblehenry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums, bushwalking

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 26 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. John Chapman has written in 'Bushwalking Clubs - A Brief History', about the establishment in Victoria of the first bushwalking club in 1888, and the popularisation of bushwalking during the interwar period. Henry Christian's 'walks' appear to have been undertaken solely or with a companion/s. Here the focus of the photograph is of a straight, snow-covered road stretching into the distance.Inscription on page illegiblehenry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums, bushwalking

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 26 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. John Chapman has written in 'Bushwalking Clubs - A Brief History', about the establishment in Victoria of the first bushwalking club in 1888, and the popularisation of bushwalking during the interwar period. Henry Christian's 'walks' appear to have been undertaken solely or with a companion/s. Here the focus of the photograph is rapids in a river.Inscription on page illegiblehenry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums, bushwalking