Family photo album from Mr. Neve. He was a foundation member of the Historical Society.Black leather with gold trim and a metal catch.books, albums

This image is one of a series of photographs taken by Melbourne based photographers Stevenson and McNicoll who visited Bacchus Marsh and its nearby districts between September and November 1883. In 1850 a new Woolpack Inn was built for Mr. J.E. Crook, replacing the original slab building of 1845. Stables for twenty horses was also built in 1850, and in 1851, Crook established a coach service to the goldfields. After 1862, Crook pursued an interest in horse breeding, using the stables to accommodate his horses. The most notable of his horses was Saladin, which won the Australian Cup in 1872 after two dead heats with The Flying Dutchman. James Elijah Crook died in 1889.Small sepia 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll. The photo shows a group of men and horses from The Woolpack Inn stables, seven horses and six riders, one horse being held on a short rein by a rider on a white horse. Most of the horses are heavily clothed in winter rugs while the riders are clothed in sports jackets and hats. The scene is a winter one.Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district

Audio slideshow with Olive and Gordon Currie with a family photo album. Created as part of the Heart Maps project with Amy Tsilemanisapollo bay, oral history, farming

The Baptist Chapel was first opened in March 1868 in Lerderderg Street, Bacchus Marsh, next to State School No. 28. The plans were prepared by James G. Pippett and the building was constructed by bricklayer J.F.Taylor and carpenter W. Nelson. When fire threatened its destruction in 1871, the townspeople assisted in saving the building by tearing off the roof and removing windows and flooring. Subsequently it was found that a solid silver Communion Service was missing as well as the contents of the Poor Box. The Chapel was renovated and used until 1898 when the building was moved to Main Street, next to the Post Office. Two rooms were added at the front when the building was rebuilt. It was demolished in 1985.Small sepia unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album, which contains photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll. The photograph is of a substantial brick building with a shingle roof. The gable above the front entrance and the side of the building under the guttering are ornamented with rows of bricks laid horizontally. A round window sits in the centre of the gable. The central door and the front and side sash windows are topped by semi-circular brick arches. The ornamentation is continued with contrasting bricks down the corners of the building. An ornamental iron fence runs along the front of the building. A large fir tree stands in the grounds. On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE churches bacchus marsh, baptist chapel bacchus marsh

The Little Wonder Store was built in 1883 from materials of the demolished Maddingley School. It was located on the corner of Grant Street and Labilliere Street. In 1886 James Alford obtained a licence to conduct the Railway Hotel and General Store there. A second storey was added later and the building continued to operate as the Railway Hotel. It was destroyed by fire in 1998. The photo also shows the covered wagon of a travelling salesman, who were known as ‘hawkers’, who were significant in the supply of goods and news to outlying towns and districts before the development of road and rail networks. Small sepia 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll. The photo shows a single-storey building of bluestone and brick with two signs on the front and side, the front sign reading “THE LITTLE WONDER” and the side sign “GENERAL STORE”. Above the door is a sign with the name ‘James Alford’. The windows display the merchandise of the store. Outside the store is a travelling salesman’s cart pulled by two horses. The salesman sits in the cart ready to drive off. Standing along the street outside the store are three men, three women and two young children.Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, shops bacchus marsh, general stores bacchus marsh vic., hawkers, hotels bacchus marsh

The house depicted in this image was constructed in 1865 for James Young a prominent local businessman and participant in community affairs. James Young left Bacchus Marsh in 1869. In 1870 Stone Villa was purchased by local solicitor Francis Gell. In 1872 it was bought by William Collyer. For a time before 1883 it was used as a school operated by Mr Thomas Kissock and his wife. From 1883 until 1922 it was used as a parsonage by the Church of England. In 1922 it was sold to Frederick Slack as a private residence. Since Slack's ownership there have been other owners. As of April 2024 it remains as a private residence and is listed as a heritage property in the Moorabool Shire planning scheme. The identity of the two women and young girl in the foreground of the image has not been established. One of the women, and the child are possibly the wife and daughter of the Rev A.C. McCausland who was the Church of England Vicar in Bacchus Marsh from 1872 until 1885 and would have resided in this house in 1883 when this picture was produced.An early visual record of one of the most culturally and architecturally significant nineteenth century stone houses in Bacchus Marsh.Small sepia 'carte de visite' style unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll', the Jeremeas Family Album. The photo is of a stone dwelling with an ornate gable above the inset front door which is flanked by two double windows, one of which is a bay window. The gable roof line bears ornate woodwork. A weatherboard extension with verandah has been added to the rear of the house, running north-south. A picket fence lines the block to the side of the dwelling. Two elegantly dressed women, both holding a furled umbrella, stand at the front, one holding the hand of a little girl.Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. Hand written on the reverse: 'Stone Villa built by James Young 1860 (sic) as his private residence, later as a school (Mr and Mrs Kissock proprietors) bought by CofE for Vicarage 1883-1922. Courtesy of Mrs J Jeremeas, Photo 1883' james young 1816-1871, houses, stone villa bacchus marsh, clergy residences, bacchus marsh vic. history, schools bacchus marsh, stevenson and mcnicoll 1883 photographs of bacchus marsh and district

A Mechanics Institute in Bacchus Marsh dates from sometime in the 1850s. The foundation stone for this hall dates from 1858. The hall was located on the corner of Young Street and Bennett Street on land donated by James Young. In 1883 a new and larger Mechanics Institute Hall was built in Main Street. The old hall was purchased by Thomas Anderson and for some years was a private residence. It was later bought by the Royal Antediluvian Order of Buffaloes (RAOB) and became a Lodge for that order. In its later years it was known locally as 'The Buff's Hall'. It was eventually demolished in the late 20th century. Built in Young Street on land owned by James Young, a prominent citizen of Bacchus Marsh, this Hall was the venue for the commencement of the political campaign of Alfred Deakin, and later for the campaign of Peter Lalor, a leader of the Eureka Rebellion.Small sepia 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll. The photo is of a single-storey brick building. The front has a gabled entrance with a central doorway and two windows, one on either side of the door. A plaque has been inset in the gable above the door. The hip roof is shingled. Three windows run along the side of the building. A picket fence on very uneven footage runs along the front. The entrance gateway has two steps up to the entry and is decorated with an ornate lantern supported by a slim metal framework. Another lantern is fixed to the left of the front door.Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, mechanics institutes, halls, bacchus marsh mechanics institute

The Harvest Home Hotel was licensed as a beer shop in 1866. Patrick Vallence was the licensee. On his death in 1874 his widow Mrs M. A. Vallence obtained the license. At the time this image was taken George Marshall was leasing the hotel. Following a decrease in the population of Bacchus Marsh, by 1911 the hotel had lost its licence.The Vallence family still owned the building after the loss of the hotel licence in 1911and it was used for some years after this as a private residence by some members of the Vallence family. Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll', the Jeremeas Family Album. The image depicts the Harvest Home Hotel situated in Main Street Bacchus Marsh. The name of the hotel can be seen above the verandah roof. The building appears to be of stone with decorative stonework corners. A verandah is inset to the left of a gabled front section which has its own door and window. On either side of the door beneath the verandah can be seen boot or shoe scrapers. A deep gutter runs along the front of the hotel, with a slab acting as a bridge to the road. Situated in the gutter at the front of the hotel is a water trough which has an arch above it with an ornate lantern, probably to light the front entry and to enable horses to be watered at night. A hitching post is nearby.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. hotels bacchus marsh, stevenson and mcnicoll 1883 photographs of bacchus marsh and district, vallence family bacchus marsh, harvest home hotel bacchus marsh

George Dickie arrived in the Bacchus Marsh area around 1857. In 1863, he married Ellen Ross Anderson, and after five years of farming in Coimadai, they moved into Bacchus Marsh and established a business. In 1866 he bought the bakery business which had been established by James Boatwood and later conducted by William Watson. This business was in Main Street and is shown in this image during the time it was owned and operated by George Dickie. Ellen and George Dickie had seven children, two sons and five daughters. In his later years he changed the business into a general store and also engaged in grain dealing. He died in 1904 but the business was carried on by his sons until sold in March 1916 to a Charles Medling from Numurkah. The building was later demolished in 1927 to make way for four new shops.Small sepia 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll. The picture shows the business of George Dickie which was located in Main Street Bacchus Marsh. The building is a brick or stone structure with a verandah along the entire frontage of the building. Standing in front of the building is a group of adults and children. On the far left is a man wearing a dress coat and hat. He is possibly Mr. George Dickie the owner of this business. To his left are some younger and older children, and a woman, possibly Mrs DIckie. In the background in the doorway is a young boy with woman behind him. On the right of the picture on the street is a man standing alongside a horse and cart. Some advertising signs are leaning against the shop, footpath and verandah pillar. One of them says 'Chaff, Oats, Bran'. Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, bakeries, shops bacchus marsh, george dickie 1831-1904, dickie family bacchus marsh

A Mechanics Institute in Bacchus Marsh dates from sometime in the 1850s. The first Mechanics Institute Hall was erected in 1858 in Young Street.(Victorian Collections no.659.) In 1883 a new and larger Mechanics Institute Hall was built in Main Street. The new hall cost 2,000 pounds to construct. It was opened by Sir William Clarke on 21 November 1883. The Mechanics Institute Library and rooms at the front of the hall were removed when the building was renovated in 1971. The building still stands and is used as a public hall.Small black and white 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll. The photo is of a substantial brick building under construction. Scaffolding support poles line the front and also can be seen on the top and back of the building. On the rooftop stand three workmen, with a further seven men standing at the front. Three men lean or stand casually at the front in casual poses. Four men stand in a line in another group on the roadway, perhaps indicating that they are master craftsmen. One of these men holds a tool of his trade, resembling a bricklayer’s mortar board. Six boys can be seen, four in a rather jaunty pose. In an indication of its public significance, the four front windows and door are arched and have decorative stone work in the side panels. A picket fence marks the boundary of the adjacent block.Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, mechanics institutes, halls, bacchus marsh mechanics institute

This image is one of a series of photographs taken by Melbourne based photographers Stevenson and McNicoll who visited Bacchus Marsh and its nearby districts between September and November 1883. The photo is of a brick residence, built in 1865-66 as a house and surgery for Dr. Rae, a medical practitioner in Bacchus Marsh 1863-1874. Dr. Rae was influential in community affairs as a Justice of the Peace, a member of the Board of Advice of Bacchus Marsh Common School and a President of the Mechanics’ Institute. After ill health forced him to resign his practice, he built the Bungalow in 1880, where he lived until his death. The house was later purchased by William Anderson (c.1880) who named it “Dunglass”. The people in this photograph are probably members of the Anderson family. The house is now used as an Adult Education Centre. The house is of significance as the embodiment of the importance to the community of its influential figures, such as Dr. Rae, in the late nineteenth and early twentieth centuries. Small sepia 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll. The photo is of a double-fronted brick Classical nineteenth century house with a high hip roof. Two brick chimneys are visible. The left hand bay is set forward, with the central section of the house being set back. A concave return verandah supported by decorative columns runs along the front and side of the house, leading to a separate entry door off the side verandah. On the window set in this door, the word ‘SURGERY’ can be discerned, indicating that this is the entrance to be used by patients. The building features buff-coloured stone quoins and architraves. A white picket fence runs along the front. Ranged along the footpath in front of the fence stands a group of eight young women and girls. A flat stone acts as a bridge over a deep drainage culvert running parallel to the street.Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, doctors, houses bacchus marsh

This item is a photograph album that would have been owned by a person or family in the late 19th or early 20th centuries. In most cases (but not in this one) family photographs would have been mounted in the pages and kept as part of a family’s history. Albums such as this one, with photographs, would then become family heirlooms and treasured as such. They would have been expensive to buy at the time so were the province of the more affluent. This album, in very good condition, is beautiful, aesthetically-pleasing and redolent with the history of earlier times. This album is retained as a beautiful example of the type of photograph album that the more affluent members of society would have owned over a 100 years ago. This is a leather covered photograph album. The cover is brown with ornamental floral scrolls and ornamental gold panels. Some of the gold etching and some of the leather areas have worn away. The spine has ridged gold bands with the gold etching heavily faded. The metal clasp that closes the pages is made of silver (tarnished) and is of a decorative pattern. The sixteen pages are made of heavy stiffened cardboard and have centre cut-outs (to contain photographs). These cut-outs are oval and rectangular (arched at the top) in shape and are outlined in gold. On every second page, the cut-out is decorated with sprigs of flowers delicately painted in colour. The pages are gilt-edged. There are three loose sheets of paper which look to be original backing pieces for photographs. There are no photographs in the album.warrnambool, antiquarian, photograph, album

This image is one of several family group portraits taken by Stevenson and McNicoll on rural properties. This property has been identified as that of John Tilley at Parwan’s Creek. The people depicted are presumably members of the Tilley family. The dwelling has since been demolished. Tilleys Road in Maddingley is probably named for this family farm.Small sepia unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll. The property has been identified as that of John Tilley at Parwan’s Creek. This property has since been demolished. Presumably, the photo is of members of the Tilley family. The image shows a family group of four women and one young child. It is unclear if the child is a boy or a girl, due to the custom of clothing young male children in dresses. The women are sitting or standing in two groups. To the right stands an older woman in a starched white apron, perhaps indicating that she is the housekeeper. The group on the left is of one woman standing and two women seated, one reading a newspaper or magazine. The young child reaches out one arm to her, perhaps for reassurance. The dwelling consists of two structures, one single storeyed cottage, which is perhaps the older part, and an adjoining weatherboard house with a steeply pitched roof and a prominent chimney at the front. The cottage has a shingled verandah partially covered by corrugated iron, which also covers the roof. Trees, a climbing vine and shrubs form a rather unkempt garden. On the hill rising behind the farmhouse there can be seen animals, possibly sheep, grazing.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, farmhouses, families, women bacchus marsh

This image is one of a series of photographs taken by Melbourne based photographers Stevenson and McNicoll who visited Bacchus Marsh and its nearby districts between September and November 1883. James Elijah Crook settled in Bacchus Marsh in 1841 and soon after held a licence for a lodging house on the Portland Road. In about 1845, he built the first Woolpack Inn, a slab building of eight rooms. This was replaced in 1850 with a “stately country villa” of brick and stone. The stables were also built in 1850 to accommodate twenty horses. In 1851, Crook established a coach service to the goldfields. After being in use as a Court of Petty Sessions, the Woolpack Inn lost its licence and closed in 1862. After this date, Crook took an interest in horse-breeding and continued to use the stables for his horses. His most notable success was with his horse, Saladin, which won the Australia Cup in 1872, after two exciting dead-heats with The Flying Dutchman. James Elijah Crook died in 1889. The Woolpack Inn and Stables were sold and then used as a hay and corn store. In 1910 the site was leased for use as an abattoir. The Woolpack Inn was demolished in 1931. The site is still in use as an abattoir. Little remains of the original stables.Small sepia 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll. The photo is of a gable-roofed commercial stables with shingled roofing, and white-washed render to the walls, standing in a large cleared yard. There is a skillion extension to the south-west corner. On the front (northern) wall can be seen a door and three windows, two large and one small paned window in the centre. The eastern window is paned, while the western window has louvres and a pull-out blind. Three S shaped stays can be seen on the northern wall. Along the western wall are two more windows and doors. A mound of hay lies at the north-western corner. Standing at the front of the stables is a group of five men and two boys, one holding a large dog. Four of the men are dressed in workman’s clothing and some are holding tools of their trade. The man at the back is wearing more formal clothes and has distanced himself from the workmen. The pole against which one of the workmen is leaning appears to have damage along one side. This pole may have been used as a hitching post as there is a footrest installed lower down to make mounting easier. Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district

Louisa Henty (1847-24) was the eldest daughter of Francis and Mary Ann Henty (nee Lawrence). Following the deaths of her mother and father, she inherited 'Fieldplace' in Studley Park, Kew, and 'Merino Downs' in Henty, near Casterton. The original photo, owned by a descendant of Francis Henty is part of an album of family photographs.Print copy of an original carte de visite; a studio portrait of Miss Louisa Henty, daughter of Francis and Mary Ann Henty (nee Lawrence). Photographed in the Johnstone & O'Shannessy & Co atelier, she is posed in a day dress which has a polonaise and train, dating the photograph to the mid 1870s. Standard props used by the studio include imitation masonry and a curtain.Front: "Johnstone & O'Shannessy & Co"louisa henty, henty family, merino downs, fieldplace -- kew (vic)

This photo came from an album of photos associated with the Grant Family of Bulla. The album was in poor condition and so the photos were removed from it for archival storage. They were numbered in the order they appeareed in the album. Most of the photos were of the creek area in Bulla; a few contained figures. Only one was inscribed as follows: " HB Grant/Craigellackie/Bulla".(0713). Inscriptions is in lead pencil on the back.Unmounted sepia photograph. A photo of Bulla Bridge over Deep Creek with the Kaolin Quarry in the background. Riders and horses and cattle are in the foreground.grant, eric, e.l, h.b, craigellackie, bulla, margaret, george evans collection

Belonged to Joyce Suto as a child when she lived in Wales, UK.Religious Organisations1. My Rule of Life, 3 paged card with 'My Morning Prayer' 'My Evening Prayer' 'My Rule of Life'. The Lords Prayer printed on it with an illustration of the 'Holy Family'. 2. Gospel Stamp Album which contains stamps for each season of the religious year. Also has 'The Morning Prayer' 'Evening Prayer' 'A Simple Rule of life' and Prayer 'Star'. Register on last page. 3. The Seven Sacraments' card containing a stamp for each of the seven sacraments1 No 24 price three half pence each or 8/6 per hundred 2 Penhow Joyce Baker, Mona Farm 3 Joyce Baker .Manor Farm St. Brides14-1-34religion, christian, sunday school

Ernest Anderson (head gardener) and Harry (gardener) worked at Williamstown Botanic Gardens. The Anderson family lived in the curators lodge on the grounds in the 1930s. Horses were used at the gardens until the 1960s when the council bought a truck. Mr Biggs drove as Mr Anderson did not have a licence. He rode his bike to the Town Hall every Friday to put in the time sheets. The collection is the only known photos of the Gardens working horses and demonstrates Edwardian Municipal gardening techniques that continued into the 1960s. They are photographic evidence of the planting styles, species choices and structures. Details inscribed on the reverse of some of the photos confirm names of staff at this time. Photo 13 (m) m: Only known photo of Ernest Anderson to be held by the Gardens2013.001.a-l is a collection of 12 small format photographs from the Anderson family album dated from 1917-1936 plus one large image of donor's wedding c1953. Ernest Anderson (head gardener) and Harry (gardener) worked at Williamstown Botanic Gardens. The Anderson family lived in the curators lodge on the grounds in the 1930s. Photo 1 (a) Sepia photo of young girl (Chic Anderson) on horse with no saddle. Two men, with hands on hips, standing alongside wearing hats. All are on a small hill (a compost heap) with a shrub on the left of the image. Photo 2 (b) Young girl and horse standing on the top of a small hill (compost heap). Girl has short hair and is wearing a jumper, skirt and long socks. Horse has no saddle and has its head down as if to eat. Photo 3 (c) Horse and foal standing in a fenced enclosure. Part of yard is paved. Horse has a white blaze and white feet. Foal has white blaze and white legs and is looking up at the horse. Photo 4 (d) Horse pulling a mower. Two men standing with mower. One is holding mower, the other the reins of the horse. Both men are wearing hats, with one wearing a vest. Horse has hessian wrapping on his hooves. Photo 5 (e) Horse and man. Horse has a rope bridle. Man holding bridle and is dressed in trousers, shirt, cardigan and hat. They are in front of a hedge and closed timber gate. Tall palm is in background. Horse is side on to the camera. Photo 6 (f) Man and horse standing in front of hedge and open timber gate. Palms in background. Man wearing trousers, shirt, vest, tie, hat. Trousers look to be tucked into boots. He is looking at the horse. The horse is facing the camera. Photo 7 (g) Three horses looking over a picket fence. All with a white blaze. There is a timber wall with a window to the right of the photograph. A man’s arm holding something is seen on the right of the photo. Photo 8 (h) Large palm tree, understorey of shrubs with two palms in the background. Photo 9 (i) Scene of the Gardens. Path dividing at a conifer tree. Woman in long skirt and hat looking up at the conifer. Different varieties of palm trees with understorey of shrubs. Photo 10 (j) Garden bed of Dahlias surrounded by a wire fence. Palms and other trees in background. Photo 11 (k) Avenue of tall palm trees with under storey of shrubs. Photo has angles cut at top corners and two large crease marks at the bottom right hand corner. Photo 12 (l) Set of cast iron gates – double carriage gates with single pedestrian gates on either side and supported by four cast iron posts with ornamental finials on top. Photo 13 (m) Ernest Anderson and daughter Chic prior to her wedding. Ernest is holding his gloves in his left hand and Chic’s hand with his right. Palms trees in the background. Photo 1 (a) 'Ern & Harry / May 8th 1936' Photo 2 (b) ‘Jack aged 36 / Chic 5 years / (unclear) 1936’ Photo 3 (c) ‘foal born in / back shed’ Photo 4 (d) ‘The Olde Firm / Jack Ernie Harry / 1917’ Photo 6 (f ) ‘Before the / council provided / a truck all / work was done / with the horses’ Photo 7 (g) ‘our work horses’ Photo 9 (i) ‘Panoramic view of Gardens / looking South from Lodge / Wms Town Botanical Gardens / 15-10-17’ Photo 12 (l) ‘Gates Public Gardens’hobsons-bay-city-council, curator, lodge, horse, transport, dahlia, compost, anderson, williamstown, botanic, gardens, williamstown-botanic-gardens, hobsons-bay, hobsons, edwardian, gardening, 1936, 1917,

The original slab hut was built in 1872 as a family dwelling on a site about 3 km upstream from the junction of the Buchan and Snowy Rivers about 40 kms from Orbost on the Yalmy Rd. No nails were used in the construction; it was all wired together. After a period in storage the Slab Ht was opened in its present location in Orbost as the Information Centre in 1987. This album documents an important event in Orbost.A photo album with a navy blue cardboard cover with gold embossing on the front and spine. It contains 32 photos of the 1997 10 year anniversary celebration of the establishment of the Slab Hut - the Orbost Visitor Information Centre. It also contains 3 postcards and 2 fridge magnets.slab-hut album orbost

This album was possibly sent as a Christmas gift to the Answer family in 1942. It was compiled by Corporal Eric Edward Answer (born 5.3.1906) - VX 26353 of the 9 Division Provost Company.He was born in Wairewa Victoria and ensilsted on 27.6.1940. He was discharged on 26.1 1944. His next of kin is noted as Muriel Answer.These personal photographs give an insight into the human element of World War 11 ensuring that those who were part of the Orbost community and played a vital role during this time are remembered.A photo album of 20 photo. It has a wooden (possibly olive wood) cover with an etching of Jerusalem on the front. It has cloth binding tied with white tape. The inside pages are brown card.Corporal E. Answer M.T. 2/23 Aust. Inf. Bn Abroad Albury's Own Christmas 1942 ww11 answer-corporal

These two albums were used at the Slab Hut - Orbost Visitor Information Centre. The Orbost Visitor Information Centre is situated in Forest Park on Nicholson Street. The centre is housed in the historic Slab Hut. The hut was an original family dwelling built in 1872, on a site approximately three kilometres upstream from the junction of the Buchan and Snowy Rivers. No nails were used in the construction; it was all wired together. After a period in storage the slab hut was opened in its present location in Orbost as the Information Centre in 1987.These albums are contemporary records of the construction and relocation of an iconic Orbost building, the Slab Hut.Two large photo albums. 2280.1 has no front cover. The back cover and spine are red. The pages are black and most photos are labelled. They are photographs of the Orbost area. 2280.2 has brown covers. It contains photographs of the construction of the gardens and buildings around the Slab Hut (Orbost Visitor Information Centre). On the cover in gold print is "PHOTOS".slab-hut-orbost album-photographs-orbost

This album was used at the Orbost Visitor Information Centre (the Slab Hut). The Slab Hut (Orbost Visitor Information Centre) is an Orbost icon. This slab hut was built in 1872 as a family dwelling on a site about 3 km upstream from the junction of the Buchan and Snowy Rivers about 40 kms from Orbost on the Yalmy Rd. No nails were used in the construction; it was all wired together. After a period in storage the slab hut was opened in its present location in Orbost as the Information Centre in 1987.This item is a useful reference tool for the history of Orbost.A large photo album containing copies of photographs, some historical articles and b/w photos of Orbost. The covers are brown with a narrow gold frame. it has no spine and the covers are tied with tape. The pages, all different sizes, are bolted in.orbost-history album-photographs

This item was owned by Ethel M. Lynn of Fairleigh, Orbost. The Lynn family is well-known in the Orbost area. Ethel Lynn, a general nurse, is believed to have been working at Bairnsdale in 1924.The album is historically-significant because it documents personal voices from before World War I in the form of poems, witticisms, well wishes and drawings.A black, dimpled leatherette covered autograph book. It contains autographs and sketches attributed to Orbost and Bairnsdale locals,On cover - Autographsautograph-book lynn-ethel

This photograph depicts a soldier, credited on the reverse as Fred Foster. The young man is dressed in military attire and is standing tall with a gun beside him. He is located in the Australian bush and the date of the photograph is unknown. Frederick “Fred” Arthur Foster was nephew to famous Bushranger Edward “Ned” Kelly. He was born on the 15th of March 1889 in Forbes, New South Wales. He was the eldest son of Catherine “Kate” Kelly and William Henry “Bricky” Foster. After the death of his mother in October of 1898 from apparent drowning, Foster (then aged 9) was raised by his grandmother Ellen Kelly (née Quinn) at Eleven Mile Creek in Victoria. On the 29th of June 1915, 26 year old Foster travelled to Melbourne, Victoria and enlisted in the Australian Army. He was a Private in the 17th Infantry Battalion (originally C.Company, 47th battalion). He previously was attached to the 55th Battalion but transferred in 1916. Prior to enlisting in the army, Foster worked as a Bee Keeper and served in the 16th Light Horse regiment at Benalla. Foster had blue eyes, brown hair and was of Presbyterian faith. On the 28th of February 1917, Foster travelled to France aboard SS “Golden Eagle”. He was killed in action in Lagnicourt, France on the 15th of April 1917 at 28 years old. The Battle in Lagnicourt France, on the Western Front, occurred from the 1st of March to the 30th of April of 1917 and was the location of fierce fighting between Germany and the British Empire. Germany became aware of a weakness they had along the Hindenburg Line, one of these weaknesses was located in Lagnicourt which is a small village in Northern France. Therefore, the Germans decided to launch a counter-attack in this area on the 15th of April at dawn. During this fight, German forces captured several batteries of the 1st Australian Division’s artillery but the Australians led a strong counter-attack by four of their battalions and recaptured the village and most of the guns from the German forces. German forces were forced into a premature withdrawal. This battle was not undertaken in typical WW1 “trench” style warfare. Instead, the battle was up on the ground in what was described as “old open style warfare”. In this battle, slightly more than 1000 casualties were Australian, with 300 of these prisoners of war. German forces suffered a loss of over 2300 casualties with 360 taken captive. Foster was one of 43 in his regiment who died, 87 were wounded and 51 reported missing. Foster was buried at location in Lagnicourt and whilst the grave was initially marked, it is now unknown. Foster’s service, alongside those who fell at Lagnicourt, is commemorated at the Australian National Memorial in Villers-Bretonneux, France along with other national Australian memorial sites.Photography played an important part in World War 1. Photographs of men in their military uniforms served as propaganda during the Great War to reassure civilians back at home of the military prowess of their nation and the bravery of their men. It did this while hiding the true horrors which faced the men in battle. These photographs, which includes those taken at home prior to embarking overseas like Fred Foster’s, act as censored memory for those who have lost a loved one at war. It enables families to remember their relatives in their youth and standing proudly rather than having to face the actual danger and horror which faced these men at the front line. The battle of Lagnicourt France was a victory for the European Empire and therefore, men who lost their lives protecting their countries became heroes and were awarded posthumous medals for their service. Photos of soldiers in their uniforms, were undertaken by men like Foster, so their families would be able to retain their memories and likeness before they embarked for war. Many men were killed or horribly wounded so these images were important for reminding families about their sons/ husbands/ brothers/ cousins and friends. This photo is a part of the Burke Museum Kelly album which includes numerous photographs relating to the Kelly Gang. As the son of Kate Kelly and William “Bricky” Foster, Fred Foster is an important part of the Kelly story after the execution of Edward “Ned” Kelly which has information it can impart relating to the history of the family after 1880. Whilst an important element of the Kelly Album, Foster’s photograph is also historically important in its own right for its connection to the Great War and the experiences of a soldier at the Western Front.Original sepia rectangular photograph developed on matte photographic paper, unmounted.Reverse: (Top right corner of reverse:) FRED FOSTER/ (Top centre of reverse:) Kate Kelly's son.kelly album, fred foster, kate kelly, photograph, australian soldier, the kelly gang, australian bush, burke museum, sepia photo, gum trees, family of the kelly gang, world war i, langnicourt, france, great war, 1917, ned kelly, frederick foster, william "bricky" foster, ellen kelly, military history, australian military

A Carte de Visite (hereafter CdV) (also known as a calling card) was popular within the mid-19th Century. It is a small card with a photographic portrait mounted on it. These cards were exchanged during the Victorian era (peaking in the 1860s) between families and friends. This particular CdV was captured by James Bray in c.1870. Bray who worked as a professional photographer in Camp Street Beechworth from 1870-1891. He was one of four men who photographed the Kelly Gang after the siege in Glenrowan in 1880. He is also renowned for his previous work photographing members of the Kelly gang. Depicted in this photograph is Isaiah “Wild” Wright. Wright was born in approximately 1846 in County Monaghan, Ireland. At age 11, Wright arrived with his father John Wright, mother Margaret and younger siblings in Victoria on the 9th of July 1857. They sailed on the ship ‘Carleton’ which left from Liverpool in England. Wright was stood 5 foot 11 inches tall and had brown hair with hazel eyes. He had a scar on the inside corner of his left eyebrow, a large scar on his right cheek and a scar on the back of his head. Over the years in Australia, Wright was sentenced on numerous (particularly of horse theft) charges and spent time in Pentridge, Hulk Sacramento and Hulk Sandridge. Wright married Bridget Lloyd in 1973. Through this marriage he was connected to the Kelly family as Bridget’s mother was one of Ellen Kelly’s (Ellen was the mother of Edward “Ned” Kelly) sisters. Wright is famous for his participation in the horse stealing incident of 1871 and subsequent bare knuckle fight against Ned Kelly that occurred in 1874. In 1878, Bridget and Isaiah Wright became parents to John "Jack" Thomas Wright. Jack Wright was an Australian rules footballer who played for Geelong in the Victorian Football League 1902-1906. Wright passed away on the 29th of May 1911.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Individuals like Isaiah “Wild” Wright played an essential part in the Kelly story which have been enlarged and adapted for popular culture. The study of these individuals thorugh their images and records can help researchers to correctly interpret their involvement with Ned Kelly and the Kelly gang. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Beechworth photographer James Bray who is responsible for many images depicting members of the Kelly Gang. Sepia oval CDV printed on Card. Obverse: J.E. Bray/ Photo Reverse: 10238 Portrait & Landscape/ Photographer J E Bray Signature Beechworth/ Victoria/ Negatives Kept. Copies 5I/. Each May/ Be Had By Forwarding Name And Address/ Accompanied With Remittance To/ The Amount Of Order/ Photographs Coloured In Watercolourskelly album, kelly gang, beechworth, wild wright, boxing, burke museum, imperial hotel, bare-knuckle boxing, isaiah wright, ned kelly, isaiah wild wright, horse theft, hulk sacramento, calling card, pentridge, james bray, cdv, carte de visite

This Carte-de-viste (CdV) previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. It is unclear; however, whether or not the man depicted in the photograph is Daniel Mullins or a different police officer. The Police Station at Glenrowan depicted in this CdV stood during the events of the Kelly gang's siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak. This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Items pertaining to the Kelly gang, including photographs like this one which depicts a police officer standing outside of the Glenrowan Police Station, are of great historical significance. Photographs like this can provide valuable information on the architecture, lifestyle and dress of colonial Australia. When studied, photographs have the ability to shed more light on the events of the Kelly gang and colonial Australia. This photograph is also of artistic significance because of the popularity of the CdV during the nineteenth century.A sepia toned photograph mounted on grey card with rounded corners. The image has been captured by an unknown photographer and depicts the outside the Glenrowan Police Station. In front of the Station stands an unidentified policeman and lying on the ground behind the policeman is a medium sized dog with dark colouring. The Police Station depicted in this photograph is a classic example of Australian country colonial architecture typically seen dating to the nineteenth century. It has the typical features of an Australian colonial 'miners' cottage' with the gable roof and a skillion at rear. A white picket fence is stands between the Station and the policeman. A small building is located at the rear of the Station which may have served as a lockup.BMM 8083kelly album, glenrowan, police, police station, photograph, ned kelly, australia, colonial australia, victoria, james bray, william e barnes, daniel mullins

In July of 1880, Ann Jones' successful hotel in Glenrowan burnt to the ground during the Kelly siege. She had opened her business in the year prior having been unsuccessful in her attempt to run a tea-room business in Wangaratta. The first building on this particular site was the home Ann Jones had built for herself and her family. Two years later she converted the home and added the hotel to the rear of the structure. One year later it was burnt to the ground. This image depicts the streetscape of Glenrowan in 1883, three years after the siege. Importantly, it reveals the appearance of several buildings which can reveal information for how Glenrowan (as a small town) might have stood during the siege. These buildings are of typical Australian colonial "miner's cottage" style. On what would have been the site of Ann Jones' hotel, to the far left of the photograph, a police station stands. This police station was built before April 1883. This image was captured by an unknown photographer. This Carte-de-viste (CdV) previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to the Glenrowan Siege and Ann Jones' Hotel which burnt down during the siege in June 1880. Taken in 1883, this photograph (taken by an unidentified photographer) has the opportunity to provide information about the townscape of Glenrowan shortly after the siege. It also provides important insight into the architecture and layout of the town. To the far right of the image, the photograph depicts the police station which was built on the site of Ann Jones' Hotel which can provide important information for the Kelly story and how the town evolved following 1880. It is also interesting to emphasise that the police station was built on the site of Ned Kelly and the Kelly gang's last stand.This photograph is a sepia image of the Glenrowan streetscape depicting several buildings. The newly built police station (in 1883) stands on the far right of the image on the site of the former Ann Jones Hotel. On the left are several buildings built in typical 'miner's cottage' Australian colonial style. This includes the gable roof with the skillion at rear. An unidentifiable individual stands next to the chimney of the front left building. Numerous paddocks appear in the image, particularly in the front right and the rear of the houses contain many trees. To the rear of the image, there is a mountain. A street runs through the centre of the photograph.Glenrowan / taken 1.4.83 ... / BMM 8086kelly album, ned kelly, glenrowan, police history, police, australian architecture, streetscape, glenrowan 1883, 1883, dan kelly, steve hart, joe byrne, carte-de-viste, james bray, daniel mullins, william e barnes, colonial australia, police station, photograph

In July of 1880, Ann Jones' successful hotel in Glenrowan burnt to the ground during the Kelly siege. She had opened her business in the year prior having been unsuccessful in her attempt to run a tea-room business in Wangaratta. The first building on this particular site was the home Ann Jones had built for herself and her family. Two years later she converted the home and added the hotel to the rear of the structure. One year later it was burnt to the ground. This image depicts the streetscape of Glenrowan in 1883, three years after the siege. Importantly, it reveals the appearance of several buildings which can reveal information for how Glenrowan (as a small town) might have stood during the siege. These buildings are of typical Australian colonial "miner's cottage" style. On what would have been the site of Ann Jones' hotel, to the far left of the photograph, a police station stands. This police station was built before April 1883. This Carte-de-viste (CdV) taken by renowned Wangaratta based photographer William Edward Barnes previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Wangaratta based photographer William Edward Barnes and to the Glenrowan Siege and Ann Jones' Hotel which burnt down during the siege in June 1880. Taken in 1883, this photograph has the opportunity to provide information about the townscape of Glenrowan shortly after the siege. It also provides important insight into the architecture and layout of the town. To the far right of the image, the photograph depicts the police station which was built on the site of Ann Jones' Hotel which can provide important information for the Kelly story and how the town evolved following 1880. It is also interesting to emphasise that the police station was built on the site of Ned Kelly and the Kelly gang's last stand.This photograph is a sepia image mounted on yellow card which depicts the newly built police station (in 1882) which stands on the far right of the image on the site of the former Ann Jones Hotel. A fence appears through the lower front of the image and an open paddock is to the left. In the rear centre of the image, there is a mountain. In front of the mountain are many trees, most of them gum. The police station is a one storey structure with a veranda and there are three doorways visible in the image. The image depicts four windows on the front of the station.W.E.Barnes / photographer / Wangaratta / ...1882 / BMM8087kelly album, william barnes, wangaratta photographer, carte-de-viste, glenrowan, 1882, police station, ann jones inn, ann jones hotel, kelly siege, glenrowan siege, colonial australia

In July of 1880, Ann Jones' successful hotel in Glenrowan burnt to the ground during the Kelly siege. She had opened her business in the year prior having been unsuccessful in her attempt to run a tea-room business in Wangaratta. The first building on this particular site was the home Ann Jones had built for herself and her family. Two years later she converted the home and added the hotel to the rear of the structure. One year later it was burnt to the ground. This image depicts the police station in 1882 on what would have been the site of Ann Jones' hotel. This Carte-de-viste (CdV) taken by renowned Wangaratta based photographer William Edward Barnes previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Wangaratta based photographer William Edward Barnes and to the Glenrowan Siege and Ann Jones' Hotel which burnt down during the siege in June 1880. Taken in 1882, this photograph has the opportunity to provide information about the townscape of Glenrowan shortly after the siege. It also provides important insight into the architecture and layout of the town. To the far right of the image, the photograph depicts the police station which was built on the site of Ann Jones' Hotel which can provide important information for the Kelly story and how the town evolved following 1880. It is also interesting to emphasise that the police station was built on the site of Ned Kelly and the Kelly gang's last stand.Sepia coloured photograph with a faded appearance. Image depicts four policemen with three standing and one sitting on a chair outside the Glenrowan police station. The station takes up the majority of the image and is placed in the centre of the photo. The four men are positioned on the left side of the station. The station is a large building with a gabled roof and extensions built into the veranda on either side. In between these extensions, the property has a white picket fence which runs from the extensions directly beneath the veranda enclosing the front of the structure. The letters 1, 2, 3, 4 are written on the yellow paper on which the image is situated and relate to the images in the photo. The reverse of the photo provides the names of each policeman and reveals the image as being from the collection of William E Barnes a Wangaratta based photographer.Obverse: 1. 2. 3. 4. Reverse: No. 1. is Mullins, D. G. / 2. Lord, Edward. / 3. Millar, Allex. / 4. Hedberg, O. G. / All Comrades / Glenrowan Police Station / 1 August 1882 / W. E. Barnes / Photographer / Wangaratta /kelly album, william barnes, wangaratta photographer, carte-de-viste, glenrowan, 1882, police station, ann jones inn, ann jones hotel, kelly siege, glenrowan siege, colonial australia, ned kelly, steve hart, joe byrne, william e barnes

This Carte-de-visite (CdV) taken by renowned Wangaratta based photographer William Edward Barnes previously belonged to the donor's grandfather, Daniel Mullins who was a Police Officer stationed at Glenrowan soon after the Kelly gang siege. Today, the siege has become an important part of Australian culture and Ned Kelly and the Kelly Gang (comprising of Ned Kelly, Dan Kelly, Steve Hart and Joe Byrne) has become ingrained in Australian history and mythology. A CdV is a sepia toned photograph mounted on card and is generally of a small size. This particular style was first patented by Andre Adolphe Eugene Disdéri (1819-1889) in 1854. In 1857, the CdV was introduced to England and after photographs of Queen Victoria, Prince Albert and their family were taken using CdV in 1860 the popularity of this method reached a peak. In this photograph, eight men stand along the railway line near Glenrowan. The photo dates to shortly after 1880 and references the attempt by the Kelly gang to derail a police train in June 1880 on those very tracks. Ultimately, this plan failed and the police train was never derailed. Ned Kelly and the Kelly gang took their final stand at Glenrowan which has been immortalised through Australian popular culture.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Wangaratta based photographer William Edward Barnes and to the Glenrowan Siege of June 1880. Taken at an unknown time, after the siege at Glenrowan, this image depicts eight gentlemen standing about the railway line near Glenrowan. This is a reference to the Kelly gang's plan to derail a train which would barrel up to Glenrowan after news reached Melbourne that Aaron Sherritt had been shot by Joe Byrne in the Woolshed Valley. This image is important for its artistic information that it can provide about the Kelly story and the fashion and streetscape of Glenrowan.This sepia coloured Carte de Visite is attached to yellow cardboard. The obverse of the photo depicts the railway line near Glenrowan around 1880s. The rails are positioned in the centre of the image and are made on an incline of earth. In the foreground are three men, two standing next to the rails and one slightly off to the right of the image. In the background are trees which line the side of the rails and slightly in front of these trees is a group of five men standing on the rails. The reverse of the image is yellow card and contains printed and pencil writing. The printed writing is in the centre of the card. It reveals that the photographer was William E Barnes from Wangaratta. The pencil writing provides the inscription stating that the photo was taken near Glenrowan around the time of Ned Kelly.Pencil: Railway line near / Glen Rowan / Kelly's time / Printed: W. E. Barnes / Photographer / Wangaratta / BMM 8089 /kelly album, glenrowan, glenrowan siege, carte-de-visite, glenrowan railway, ned kelly, kelly gang, last stand, colonial australia, kelly siege, train, railway line, railway, sepia, photography, william e barnes, william barnes