Bertram Avenue Sheir Carey No 49 enlisted in the AIF in A Coy 5th Batt AIF on 17.8.14 age 26 years. Embarked for Egypt 21.10.14, embark for Gallipoli 5.4.15, WIA 26.4.15 GSW to thigh fractured, returns to duty 30.9.15, promoted to CPl 1.3.16, attached to 1st Army Pay Corps 1.9.16, transfers to Australian Flying Corps (AFC) London and posted 30th Training SQD 29.11.17, taken on strength 1st Wing HQ 16.1.18, discharged from the AIF 28.3.19.Framed photo of B.A.S. Carey, No. 49, 5th Battalion AIF and A.F.C. A grainy black and white portrait of an Australian soldier. Bare headed. Hat under his left arm. At least two strips on right sleeve. Frame - stylised black and gold wooden frameTicket on front - B.A.S CAREY NO 49 5 BN AIF and A.F.C. WIA 26 - 4 - 1915.photography-photographs, frame accessories, military history

Leonard Jordan TRIPP No VX25096 enlisted in the 2nd AIF on 11.6.1940. Posted to 2/21st Bn on 15.7.1940, hospital 23.1.1941 with Fractured Tibula, rejoin unit 29.4.1941, embark for the Middle East 28.6.1941, disembark 25.7.1941, posted to 2/24th Bn 23.8.1941, DOW’s 24.10.1942. His records offer nothing else re wounding or death. He is buried at El Alamein Box Cemetery grave No 8, plot 4, row A, map reference 1/50000- 88602946. Refer also Cat No 2336.8PPhotograph of Len Tripp VX25096 2/24 Battalion A.I.F. in uniform. Slouch hat. Frame is simple wooden design with gold rim.photography-photographs, portraits, military history

Edward Lane No 40676 enlisted in the RAAF on 16.5.41 age 34 years. At discharge on 20.8.46 he held the rank of Sergeant. Refer 209.2, 210, 212.3.B & W photo copy framed for display showing portrait of E Lane in RAAF uniform.photography - photographs, military raaf

Copy of sepia toned photograph of a British female Sergeant being Beryl SCRIMSHAW.photography, portraits, british military

Bertie Harward No 3854 enlisted in the 12th reinforcements 5th Batt AIF on 20.7.15 age 19years 2 months. Embarked for Eygpt 23.11.15. Embarked for France 25.3.16. Hospital with Mumps 10.6.16. Hospital with PUO 17.5.18. WIA 22.8.18 GSW to scalp. Discharged from the AIF 16.4.19. Refer 340.Copy of original photo re Bertie HARWARD in uniformphotography, 5th batt, aif ww1

The photo relates to S/SGT FRANCIS WILLIAM (DINKY) DEAN BEM, VX93960 2nd AIF, 3742 1 RAR. Refer 124.2 for service details also 123.5, 125.4, 366P.Photograph, framed, black & white group portrait of Australian Senior NCO's in shorts & long trousers, slouch & peak caps. Most are wearing campaign ribbons. One Officer, Lt Colonel of Regiment is absent. Named are Senior NCO's of IRAR & CO of the Battalion. IRAR Sergeants Mess, Malaysia 1969.photography-photographs, frame accessories, military history- army

John Leonard Stanley Hammill No 1351 AIF. Refer 396.2 for his service history also 369. Black & white portrait photograph of Australian WWI Soldier wearing a slouch hat & Rising Sun badge. The image has been artistically enhanced. The frame is ribbed timber.J S S HAMMILL No 1351photography-photographs, frame accessories, military history-army

220 p., black & white photographsnon-fictionThese photographs were originally taken for 'stereoscope' and include images from all over the world.photographs, world history, stereoscope

One of a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandPhotograph of a Portrait of Surgeon George Bass seated facing half on with hands crossed at wrist and cane in left hand"Surgeon George Bass". Sailing from Sydney in an open Whale Boat with six chosen seamen. He discovered Phillip Island on January 5th, 1798 at 7 o'clock in the morning.local history, photography, photographs, exploration, maritime, phillip island, george bass, john jenner, bryant west

One of a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandPhotograph of a painting by F Wheatley National Portrait Gallery, of Vice Admiral Arthur Phillip standing on beach between water and rocks. Small boat with sailor nearby and ship under sail in background.Vice Admiral Arthur Phillip - first Governor of New South Wales. The man after whom Phillip Island was named.local history, photography, photographs, exploration, maritime, governor arthur phillip, arthur phillip, john jenner, bryant west

One of a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandPhotograph of a portrait of Charles Manton. He grazed pigs on Phillip Island in 1841.local history, photography, photographs, portrait of charles manton, black & white photograph, charles manton, pig grazing, early settlers, john jenner, bryant west

One of a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandPhotograph of a Portrait of Baron Ferdinand Jakob Heinrich Mueller. Frequently visited Phillip Island during 1850's and 1860's.local history, photography, photographs, baron von mueller, black & white photograph, early settlers, john jenner, bryant west

One of a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandPhotograph of a Portrait of Dr L. L. Smith seated at table with pen in hand painted by Henry Sadd. Dr Louis Smith was born in London and died in East Melbourne. 15/5/1830 to 8/7/1910. He was a Medical Practioner and Politician. He migrated to Australia as ship's surgeon on the Oriental arriving in Melbourne 11th December 1852.local history, photography, photographs, dr l l smith, black & white photograph, doctors, phillip island, early associates, john jenner, bryant west

Migrated to Australia with husband Robert in 1856 from Scotland. Settled in Adelaide, Melbourne then Phillip Island. Died in 1888.Portrait Photograph of Margaret Anderson nee Sharp.Cameo Head and Bust. Lace type cloche hat with wide ribbon tying under chin. White lace collar on dark velvet dress with buttons up front.Stewart & Co. Melbournelocal history, photography, photographs, slides, film, first mrs margaret (sharp) anderson, sepia photograph, mrs emma anderson jacobs, phillip island

Family Portrait of children. Wilhelmena born 7/08/1856 died 20/09/1938. Robert Jnr died 02/02/1929. Jane killed 07/08/1884 when thrown by horse.Posed Photograph. Wilhemena and Robert Jnr. seated. Jane standing between seat and table. Large draped curtain behind.local history, photography, photographs, slides, film, three eldest anderson children - wilhemena, robert jnr, jane, sepia photograph, mrs emma anderson jacobs

Studio Portrait of Robert Anderson Jnr. in oval frame. Dressed in dark jacket and waistcoat, white shirt and striped tie. Son of Robert and Margaret Anderson, Fourth child.Studio Portrait of young man, Robert Anderson Jnr.local history, photography, photographs, slides, film, robert anderson jnr, sepia photograph, mrs emma anderson jacobs

Studio Portrait of the adult Jane Anderson, white cravat-type collar on dress.Studio Portrait of Jane Andersonlocal history, photography, photographs, slides, film, jane anderson, sepia photograph, mrs emma anderson jacobs

Janet Anderson, seventh child of Robert Anderson. Studio Portrait of a young lass, frilled collar, broach at throat.Studio Head and Shoulders Photograph of Janet AndersonVandyk Studios, 3 Bourke Street, East Melbourne. Next door General Post Office.local history, photography, photographs, slides, film, janet anderson, sepia photograph, mrs emma anderson jacobs

Margaret Anderson, sixth child of Robert Anderson. Studio portrait of Margaret, arm resting on table, dressed in nurse's uniform. High cap on back of head, draped patterned curtain on right of photograph.Studio Portrait Photograph of Margaret Andersonlocal history, photography, photographs, slides, film, margaret anderson, sepia photograph, mrs emma anderson jacobs

A group of 4 photographs, person not identified, taken circa 1900. From the Partington collection.Four sepia studio portraits.partington family

Red cloth hard cover photo album with Art Nouveau design on cover and green paper pages, containing black and white photographs from the World War One era of soldiers abroad and family. Some formal studio photography. Subject matter includes: Middle East, France, Egypt, Horses, Zoo visit, well digging, horse in a hammock, hotels and souvenir cards, North Africa, camels, camps, tents, donkeys, ships, portraits, sports teams, Ypres in Belgium, Folkestone UK, Camp at Burrumbeet 1913 and another dated photograph reads 30th May 1916. Photographs are stuck down onto pages. Cover reads: SCRAP ALBUMwwi, world war one, soldiers, aif, anzac, portraits, photo albums, grand continental cairo, jb ballardie, william harrigan, ypres, cairo, 54th bn, t.s.s. borda, la rue au beurre, leas bandstand & parade folkestone

This 1920s wedding portrait helps understand the social and spiritual contexts of the Ararat community at a time when religious ceremonies were of great significance. The clothing helps identify the status of the couple and reflects their economic standing.Representative of the early social and spiritual Western ceremonies in the area of Ararat in the 1900sLarge, portrait-orientation black and white photograph mounted on card. Two people, dressed in formal wedding attire stand together in a studio. Bride carries a large boquet of flowers and has a ¾ length veil.Rear: "To Uncle Jim with best wishes / from Tom and Daisy / 11 2 20" / 1627 [cat.nbr]wedding, ceremony, photography, 1920s

These booklets were produced in 1896 by the Warrnambool photographer, Joseph Jordan as a souvenir of Warrnambool with three of them being also souvenirs of the 1896-7 Warrnambool Industrial and Art Exhibition. Joseph Jordan, born in England, took up photography whilst on military service in India. In 1890 he set up as a professional photographer in Warrnambool and became well-known for his family portraits and official photographs of civic dignitaries in the town. He retired in 1916 and the business was continued by his son, Arthur. The Warrnambool Industrial and Art Exhibition was held over three months in 1896-7 in the civic buildings with some temporary buildings added. 70,000 people were said to have attended over that time with concerts, operas, art and sporting competitions and many exhibits. Joseph Jordan had the exclusive rights to publish a souvenir booklet. These booklets are of prime importance because:- 1. They are invaluable pictorial records of Warrnambool and district in the late 1890s. 2. They contain valuable advertisements which give us pictorial representations and other information on businesses in Warrnambool in the late 1890s. 3. Three of them relate directly to the Warrnambool Industrial and Art Exhibition and contain an article dealing with the Exhibition. 4. They contain a written description of Warrnambool in the late 1890s. 5. They show the work of one of our most important photographers, Joseph Jordan and probably also the work of his son, Arthur. These booklets have been published in 1896 by the Warrnambool photographer, Joseph Jordan and contain 15 pages of black and white photographs of Warrnambool and district, many advertisements for local and Melbourne business and an article of the town of Warrnambool. Three of the booklets also contain information on the 1896-7 Warrnambool Industrial and Art Exhibition. Booklet One and Two – dark red hard cover with the title in gold and ornamental scroll work. The cover printing of Booklet Two is almost obliterated. The books are glued and reinforced with string. Booklets Three, Four and Five – soft covers in beige tonings with the title in black print and featuring ornamental scroll work with a sketch of a bird. The covers have much foxing. The booklets are bound with black and brown tape. Booklet One: ‘Ivy Morden’ Booklet Two; ‘Mr Peter Gibbons’ joseph jordan, warrnambool industrial and art exhibition

A digital copy of a black and white portrait of Nicholas John Caire.A digital copy of a black and white portrait of Nicholas John Caire. Nicholas John Caire was born in 1837 in Guernsey. He arrived in Adelaide about 1860 along with his parents who encouraged his early interest in photography. He opened a studio in Adelaide in 1867 after traveling extensively throughout the Gippsland taking photographs. After marrying in 1870 he moved to Talbot in Victoria until 1876 when he opened a studio in the Royal Arcade in Melbourne. After 1885 Nicholas John Caire gave up his city work and made his home in South Yarra and devoted the rest of his life to outdoor photography, specializing in the bush, the gullies, and the mountains of south-eastern Victoria. nicholas john caire

A digital copy of a black and white portrait of Nicholas John Caire.A digital copy of a black and white portrait of Nicholas John Caire. Nicholas John Caire was born in 1837 in Guernsey. He arrived in Adelaide about 1860 along with his parents who encouraged his early interest in photography. He opened a studio in Adelaide in 1867 after traveling extensively throughout the Gippsland taking photographs. After marrying in 1870 he moved to Talbot in Victoria until 1876 when he opened a studio in the Royal Arcade in Melbourne. After 1885 Nicholas John Caire gave up his city work and made his home in South Yarra and devoted the rest of his life to outdoor photography, specializing in the bush, the gullies, and the mountains of south-eastern Victoria. N.J. Cairenicholas john caire

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .2) A tintype portrait of two girls heads, attached to a card. The girls are wearing a cloak with a large bow at the frontlittle gem, women, children, photography, tintype

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) In 1863-4 A.Marion & Co. 23 Soho Square, London, were publishing cartes for Southwell Brothers of 16 & 22 Baker Street W. London, and in c.1866 producing cartes wholesale for Mayall of Regent Street. They appear to have printed numerous cards with a very small name printed onto the lower front. Travelling photographers would purchase the cards and sometimes have their own personlaised details printed onto the back..6) A tintype studio portrait of two seated men in suits, attached to a card, possibly brothers. On lower edge of card "marion Imp. Paris"little gem, tintype, photography