Rotaract is a club with connections to Rotary International specifically for younger people. This glass relates to the local Warrnambool group.An item linked to a local group.Stemmed glass with gold rim and text. Club logo on side of glass.Rotaract club Warrnambool district 978 rotaract warrnambool, warrnambool

The Warrnambool hospital was commenced around 1850 with the establishment of a benevolent society but little is known of the early days. Over 150 years the hospital has been an imposing building and central part of the Warrnambool community. A common item with links to a major establishment in the city.Clear stemmed glass with white lettering on side in white.South West Health Care celebrating 150 years with logo above lettering.warrnambool base hospital, 150 years warrnambool hospital

The Melbourne Olympic games were mainly conducted at the Melbourne Cricket Ground and were one of the most successful in terms of medals for Australia. Among the medal winners were Shirley Strickland, Betty Cuthbert in Athletics and Dawn Fraser and Murray rose in swimming. The games commenced in November 1956. The games were noted for the 19 Hungarian athletes who applied for asylum with their home country undergoing upheaval at the time. The Melbourne games also enjoyed the advent of television with the technology having recently been introduced to the country. These badges note ten of the many athletes who competed for Australia in 1956. These items are of social significance and interest. Among the names listed, Dawn Fraser and Shirley Strickland were two of Australia’s best known athletes.001042.1 Dawn Fraser Swimming 001042.2 Dawn Fraser Swimming 001042.3Gary Chapman Swimming 001042.4Gary Chapman Swimming 001042.5Gary Chapman Swimming 001042.6Jim Bailey Athletics 001042.7 Winsome Cripps Athletics 001042.8 Lionel Cox cycling 001042.9 Hector Hogan Athletics 001042.10 Kevin O’Halloran Swimming 001042.11 Shirley Strickland Athletics 001042.12 Merv Wood Sculling 001042.13 Jon Henricks Swimming Items 001042.1-001042.13 are white background with green wreath , black text on yellow background and have B & W photo of Olympian in centre. 001042.14 Melbourne Olympics Souvenir dark blue text, pale green with wattle 001042.15 Melbourne Olympic Games 1956 with red text Straight pin at the back. Patrick Pty Ltd on edge.1956 olympics, melbourne olympics, souvenir badges, dawn fraser, gary chapman, jim bailey, winsome cripps, lionel cox, kevin o'halloran, hector hogan, shirley strickland, jon hendricks, merv woods, melbourne olympic games

This is a booklet of 16 pages with a cream-coloured cover with blue printing and images of the Australian States' Coat of Arms and a Royal Coach. The page contain sketches in colour and black and white of costumes, regalia, furniture and other items used in the coronation of King George VI. The pages are tied together with a yellow ribbon. The front cover and the first page have some silverfish damagenon-fictionSouvenir Booklet of Exhibition of Coronation Robes in Australia 1938king george vi coronation, english coronation booklet

The Hollywood film stars pasted on to one side of this paper are of no historical interest to our Society. The four paper items attached to the other side relate to the pioneer aviator, Basil Watson. He flew the first aeroplane to come to Warrnambool in January 1917. Watson flew from Point Cook to Warrnambool in one hour 55 minutes, an Australian cross-country flying record at the time. He had built his own aeroplane which was 18 feet long with a wing span of 26 feet and it had a 7 cylinder 50 H.P. rotary Gnome engine. In Warrnambool he amazed the crowds with his dare-devil aerial acrobatics, looping the loop 14 times over the Warrnambool Racecourse. Watson also brought several letters with him, making him the bearer of the first aerial mail to Warrnambool. Sadly Basil Watson died when his plane crashed at Point Cook in March 1917, just two months after his record-breaking flight to Warrnambool. The Warrnambool and District Historical Society has in its collection the small galvanized bucket seat which came from Watson’s plane and the original first air letter written by the Mayor of Melbourne to the Mayor of Warrnambool. These four items are of considerable historical interest as they are souvenirs issued at the time of Basil Watson’s aviation exploits in the early 1900s and Watson is of great importance in the aviation history of Warrnambool.This is a piece of paper (possibly from a scrapbook) with one torn edge. Pasted on to the paper on one side are newspaper photographs of early Hollywood female film stars. On the other side are four items relating to the pioneer aviator, Basil Watson – an airmail post card, a newspaper black and white photograph, a souvenir black and white photograph and a card with an illustration of an early aeroplane (pictured upside down). ‘The Aerial Postman Basil Watson’ ‘Official Souvenir Australian Aerial Mail’ basil watson, pioneer aviator, aviation in warrnambool’s history, history of warrnambool

This item is a souvenir of the Bi- Centenary of Australia (1988) It features the new Parliament House in Canberra which was opened in May 1988 and cost more than one billion dollars to build and contains four thousand seven hundred rooms. This item came from the estate of a well known Warrnambool lawyer and is retained as a high quality souvenir of the Bi-Centenary of AustraliaCircular ceramic plate. White concave surface with blue drawing of Parliament House, Australian Coat of Arms, flowers including banksia, Sturt Desert Pea, eucalypt and seven pointed stars. Reverse has raised inner rim and includes text in blue. Front 1988 Reverse ROYAL COPENHAGEN DENMARK and crown. COPYRIGHT THE A.B.A 1981 REG.TRADE MARK OF THE A.B.A. USED UNDER LICENCE BY ROYAL COPENHAGEN NEW PARLIAMENT HOUSE, CANBERRA Logo Australia 1788-1988 Signature " Gorn Uestezaul"(?)parliament house, bi centenary of australia

This item was originally made to put around a farm or herd animal to enable it to be identified and found if it strayed. Horses, cows, goats and oxen were the animals most commonly given neck bells in Australia as a way of identifying and finding cattle particularly in areas where prpoerties were unfenced or when droving large herds of mixed cattle. Drovers often marked these bells as a way of identifying which cattle belonged to them. Some of these bells from the 1860's onwards were imported to Australia and some were manufactured locally. The cow bell in various sizes is often still produced to sell to tourists, particularly those in Europe. Many of these souvenir bells contain some form of art work. Although this item has no known local provenance it is retained as an early example of the bells placed around animals’ necks to stop them from straying. This is a piece of metal welded to form a cover or a bell container with a bottom opening to hold a metal clapper which is held in place by a metal ring. The top has a metal handle. The bell is very rusted and stained.animal husbandry, warrnambool, history of warrnambool, cow bell

This dish features an image of Warrnambool Harbour taken from the location of the Lower Lighthouse on Flagstaff Hill. This area is popular with tourists and the dish has been sold as a souvenir of a visit to Warrnambool. The Lower Lighthouse was first used in 1871. This dish is retained as an example of a tourist souvenir item in the late 20th century. Tourism in Warrnambool has always been an important industry. This is a white china oval-shaped dish with a fluted edge and a gold trim around the edge. The base of the dish has a multi-coloured image of Warrnambool Harbour and the Lower Lighthouse on Flagstaff Hill. The base of the dish is a little stained and has the printed name of the manufacturer.‘The Harbour, Warrnambool, Vic.’ ‘Fine China Westminster Australia’ tourism in warrnambool

These glasses appear to be mainly sunglasses or ones for outdoors as the tinted glass and the shades indicate this. They would have been used commonly in the past (100 years ago or more) by those able to afford the cost of the item. Eye glasses were first used in the 13th century and bi-focals were invented in the late 18th century.These items have no known local significance and are kept as interesting souvenirs of eye glasses used in the past.This is a pair of spectacles or glasses in a case. The glasses are made of thin metal and contain dark tinted glass. The eye-glass pieces are oval in shape. On the outer rims of the eye-glass pieces are two curved metal mesh covers attached to the metal rims by two screws on each side. These act as shades for the sun and side protection for the eyes and fold down when not in use. One of the shades is detached from its metal rim. The glasses case is made of cardboard and has a black mottled outer covering and a light brown inside lining. The case is much scuffed. household items, history of warrnambool, spectacles

These items relate to the Life Membership of the Warrnambool Horticultural Society awarded to Mrs Gladys Angus. The Warrnambool Horticultural Society was founded in September 1863 and the first Show was held in the old Temperance Hall in the December of that year. Today the activities of the Horticultural Society are combined with those of the Warrnambool Agricultural Society. Mrs Gladys Angus lived in ‘Birchwood’ in Koroit Street, Warrnambool and this property was noted for its fine garden lay-out and display. Mrs Angus took a keen interest in the garden and greatly assisted the activities of the Warrnambool Horticultural Society. Her husband, Dr William Roy Angus, established a practice in Warrnambool in 1939 and was a for many years. Following his death Mrs Angus donated her husband’s collection of historical medical equipment to Flagstaff Hill Maritime Museum and this collection is on display in the Port Medical Officer’s building today. These items are of interest as they belonged to Mrs Gladys Angus. She and her husband, Dr William Roy Angus, were prominent people in Warrnambool in the 20th century. .1 This is a badge with the image of a red rose on a gold and yellow background connected to a red and gold metal bar by a metal chain link. The bar has a gold clip at the back. .2 This is a souvenir spoon in silver tonings with a badge affixed to the top of the spoon. The badge has an image of a red rose on a yellow and gold background. The spoon is in a plastic container. .3 This is a rectangular-shaped card with gold lettering and ink writing. .4 This is a letter with a green letterhead and typed material. These four items are in a cardboard box which originally held notelets and envelopes. ‘City of Warrnambool Horticultural Soc.’ ‘Life Member’ ‘Life Member -This is to certify that G. Angus has been appointed a Life Member of the Warrnambool Horticultural Society in appreciation of services rendered. 18th Feb. 1982’ gladys angus, warrnambool horticultural society

This item has been brought back to Australia by a returning soldier from World War One (1914-1918). At a time when France was completely disrupted by the ravages of war many French women, especially those in rural areas, earned a living by making souvenir pieces of embroidery to sell to soldiers in the Allied forces. These embroidered pieces took the form of postcards, doyleys, centerpieces, handkerchiefs etc. The items are noted for the handcraft skills shown by the makers and are prized by collectors today. This item, although fragile, is of considerable interest, firstly as an attractive embroidered piece and secondly, because of its association with World War One as an example of the souvenirs brought back from France to Australia by returning soldiers. This is an oblong-shaped handkerchief or doyley. It has a pink or mauve silk square in the middle with a coloured motif embroidered in one corner. This s a shield with representations of several European flags and embroidered wording underneath. The silk square is edged in a wave pattern in pink. The square has a white lace border. The item is slightly stained and has fold marks.Souvenir de Franceworld war one

This item was bought as a souvenir of Warrnambool in the mid 20th century when cigarette smoking was more widespread and was socially acceptable. Tourism in Warrnambool has been an important industry for over 100 years. In the late 19th century Warrnambool was promoted as a spa resort with its mild climate, sea bathing and its hot and cold sea water baths complex. Today visitors come in winter for the May Racing Carnival and to see the Southern Right whales at Logans Beach and in summer they come for a beach holiday. The image on the dish shows the Warrnambool Hopkins River near its mouth. The boatshed is no longer there with sections of the building being relocated to a site in Henna Street and used for indoor recreational purposes.This ash tray is retained as an example of a local tourist souvenir sold to tourists in the 1960s. This is a small white china dish made in an oval shape and slightly raised from the surface on which it sits. The ends of the dish have four gold coloured indents for stubbing cigarettes. There is a gold rim around the edge of the dish and a coloured image of the old boat shed and jetty on the Hopkins River in Warrnambool. On the base of the dish is the logo of the maker and printed details.Warrnambool Hopkins River Alka Kunst Bavaria tourism in warrnambool, history of warrnambool

It has long been a tradition to distribute a piece of wedding cake to guests who attend a wedding. Traditional wedding cake is a rich fruit cake with long keeping qualities. It is unknown to whom this wedding souvenir belonged.This item has social significanceSmall rectangular tine with rounded corners inside a plain white cardboard box. Wedding bells are imprinted on the lid of the tin.wedding cake, warrnambool

This spoon has been produced as a souvenir of Brauer College in Warrnambool. It would have been issued to, or bought by Brauer College students, ex-students, teachers and other community members interested in the school. Brauer College has its origins in the establishment of Warrnambool Technical School in Timor Street, Warrnambool in 1913. It later became Warrnambool Technical College and the Technical School section was re-located to Caramut Road in Warrnambool in the 1970s. In 1990 the name was changed to Brauer College (named after Dr Brauer, a prominent local doctor and supporter of secondary education In Warrnambool). This item is retained as an example of a souvenir spoon associated with a prominent educational institution in Warrnambool – Brauer College. This is a gilt-covered metal spoon with ornamentation at the top of the spoon surrounding a blue insert with gold lettering and a gold seahorse logo.brauer college, warrnambool

This item is a souvenir of Warrnambool, showing one of the popular beach areas, Shelly Beach. The owner is unknown but it would have been bought by a local person or a tourist for use in the home as a butter or pin dish. Judging by the quality of the item it would date back to the mid to later 20th century. Souvenir dishes such as this have been popular in the past and still sell well today. This item is of minor interest and is kept for display purposesThis is a china dish, octagonal-shaped with gold-coloured edging and a colour image of a beach and rocks in the centre portionShelly Beach, Warrnambool, Victoria Royal Stafford China Made in Englandwarrnambool tourism

This matches holder, a common item in the early 20th century, has been produced to commemorate the reign of King George 5th of England. It may have been produced for his coronation in 1911.This item is of no known provenance but it is of some interest since it is a souvenir of the reign of King George 5th.A rectangular shaped brown metal matches container. It is rounded on one side and has a striking mechanism on the other side and a lift up lid at the top. There is a circular inset with an image of King George 5th and Queen Alexandra in sepia tones with a clear perspex cover. Inside the container are five wooden matches with red heads.vintage accessory, warrnambool history

This is a booklet with a green cover with black and gold printing and ornamentation. The pages contain 24 black and white photographs and are tied together with string.non-fictionsouvenir booklet of Warrnamboolwarrnambool vintage tourist souvenirs, walter davies

These cartridges have been used to contain pellets or shot to be fired from a shotgun. They have been in the collection of the Warrnambool and District Historical Society for many years but the reason for keeping them is now not known. Warrnambool has had a Gun Club since the 19th century and they may have been kept as souvenirs of a past clubThese cartridges are of minor interest and may have some use as display items..1 A blue plastic container with a fluted edge at the top which is open. The base has a brass holder with etched figures and letters. .2 A red plastic container open at the top which has a fluted edge. The base has a brass holder with etched figures and letters and there is black printing on the side of the cartridge .3 A gold-coloured plastic container open at the top. There is black printing on the side of the container and etched figures and letters on the base of the brass holder..1 12, IMI .2 Winchester 12 GA, AA, Winchester 350, 3-50-32-7 Trap .3. Winchester 12 GA AA, Winchester 275, 2.75-32-7 Trapwarrnambool gun club, warrnambool history

This is a souvenir glass with an image of the Lower Lighthouse at Flagstaff Hill in Warrnambool. This lighthouse is one of two first situated at Flagstaff Hill in 1871, with the lower light being placed on the top of an obelisk that had been erected at an earlier date. The two lighthouses still operate today on Flagstaff Hill. The glass has been sold as a tourist souvenir or as a memento for local people.This item is of minor interest as an example of a tourist souvenir of Warrnambool.This is a clear glass circular tumbler with a heavy base and an indented section near the base where the hand grasps the glass. On one side of the glass is a multi-coloured sketch of a lighthouse.Warrnambool Vicwarrnambool lighthouses

Seven items about the history of this Church: 1/Photos of St John’s Presbyterian Church,4 Black and White, undated. 2/Photos of Church – (colour) x 4 includes Hall and Foundation Stone undated. 3/Jubilee History Souvenir, St John’s Presbyterian Church Elsternwick, 1887 – 1937. Illustrated. 2 copies – 40 pages, includes B & W photos. 4/Booklet '75th Anniversary A Brief History 1887 to 1962' unpublished. With handwritten notes on 1963. Also, 2 photocopies of the same document. 5/3 copies 'St John’s Uniting Church, Elsternwick 100 Years Of Witness 25.10.87' 6/Unpublished, typewritten 2 page history of St John’s Presbyterian Church, Elsternwick, written in 1973 by B. Snowball. 7/Unsigned, unattributed list of Uniting, Methodist and Presbyterian Churches in 'old' Caulfield area.robertson j gray rev., jones james rev., macauley wilson dr. rev, crockett j.a. rev, crichton barr rev, ingram ww right rev, michell a. h. rev., parishioners, brown f. a. mr., scott arthur h mr., waugh m. e. miss, mcarthur mary miss, birrell m miss, scott arthur mr., mctaggart hugh mr., alexander j. b. dr., whelpton g. p. mr., mclennan james mr., brown frank mr., mcconchie w. j. mr., gardiner a. p. mr., scott john mr., brian hugh mr., davis j.g. mrs., robertson j. g. mrs., tennis clubs, cricket clubs, st john’s presbyterian church, st john's presbyterian church, st john's uniting church, elsternwick, glen huntly road, presbyterian church, clergy, matthews janet mrs., barnes marjorie mrs., angus catherine mrs., burstall gladys mrs., campbell aj (treasurer 1984), tulloch annie miss, smith douglas r dr. (associate elder), orders dorothy mrs., filer ailsa, filer jack, filer anita crawford., booth alison mrs., stewart jean miss, wilton louise mrs., mcnicol elsie miss, christiansen ilma mrs., mcnicol jean miss, gallagher janet miss, wood muriel mrs., bradshaw olive miss, dance percy mr., jordan marjorie mrs., underhill catherine mrs., godkin ivy mrs., martin alexandrina mrs., mcintosh helen mrs., mallinson irene mrs., kennedy duncan w rev., stacy adam, stacy lisa, haddrick w. e. rev, haddrick mrs., murray street, begg chris, sanderson faye, ting apwee rev., kildonian children’s home, organs, mcqueen finlay rev, robertson j. gray mrs, davies j.g. rev, mcrea d.g. rev, ferguson fergus rev

The outer envelope is addressed Mr E. Fielding which is believed to be Richard Edward (Eddie) Fielding. It is understood from Tom Fielding, that this item was collected by his Uncle Bill Teagle when visiting Japan in the 1920s whilst serving in the Navy. It is further understood that Bill always made efforts to collect souvenirs from his travels to give to family members. William George Teagle, more commonly known as Bill, was born 2 August 1899 at Sandringham, Victoria. Bill, a milk carter first attempted to enslist in the AIF in October 1917 but was rejected on the grounds of being too small. On a second attempt he was successful and his application was accepted 1 June 1918. He embarked in November 1918 for overseas with the 17th Reinforcements. He was discharged a year later in December 1918. On 6 May 1919 he enlisted in the Royal Australian Navy for a period of 7 years service with the rank of Stoker however he remained with the navy throughout till the end of the Second World War, and was finally discharged 14 November 1945 with the rank of Petty Officer. This item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection

The text on reverse translates Kikaha toilet department. There is also the printed image of a swallow on the back, which suggests that it was taken by the S. N. Banshiudo Studio in Shiba Park, Tokyo. Geisha Sakae was an extremely popular postcard model shortly after the Russo-Japanese war 1904-05, people used to line up early in the morning whenever a new postcard was released at the postcard shop in Ginza. The beauty of her gait was so widely admired that her walk inspired many of the leading Onnagata (male Kabuki actors in female roles) of the day. She went on to marry Ichikawa Sadanji II, one of the most popular Kabuki actors in Japan, who worked hard to promote new plays and revive long-forgotten classical dramas. [Ref: https://www.flickr.com/photos/blue_ruin_1/8448420741] During the Russo-Japanese War (1904–05), the Japanese government sent postcards of beautiful Japanese women, bijin ehagaki (美人絵葉書), to soldiers to motivate them. Publishers continued to print them well into the 1920s. [Ref: Duits, Kjeld (February 21, 2022). 1910s: Geisha Postcards, OLD PHOTOS of JAPAN. Retrieved on March 31, 2024 (GMT) from https://www.oldphotosjapan.com/photos/883/vintage-geisha-postcards-early-20th-century] See also: Sakae さかえ - Meiji / Taishō Era Geisha https://www.flickr.com/groups/1988804@N22/pool/ The photochrom process Photochroms are not photographs but actual prints, produced using 6 to 15 colors and the lithography printing process. The technique was invented by the Swiss Hans Jakob Schmid during the 1880s. The fascinating aspect of these prints is that they are created from black and white photographs. It required quite some work and talent to create these images. The photographer would usually make notes about the colors in the image he shot. These enabled a painter to create a painting that served as a color guide for the litho stone maker. This artisan would then create multiple exposures of the original black-and-white negative, changing the exposure time, development settings, and using dodge and burn techniques to create the required set of 6 to 15 stones that would each be used to print one specific color. By combining all these colors you get the prints [Ref: https://www.prepressure.com/printing/history/photochrome-prints]This item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, geisha sakae, japanese postcard, postcard

The text on reverse translates to Kikaha toilet department. There is also the printed image of a swallow on the back, which suggests that it was taken by the S. N. Banshiudo Studio in Shiba Park, Tokyo. Geisha Sakae was an extremely popular postcard model shortly after the Russo-Japanese war 1904-05, people used to line up early in the morning whenever a new postcard was released at the postcard shop in Ginza. The beauty of her gait was so widely admired that her walk inspired many of the leading Onnagata (male Kabuki actors in female roles) of the day. She went on to marry Ichikawa Sadanji II, one of the most popular Kabuki actors in Japan, who worked hard to promote new plays and revive long-forgotten classical dramas. [Ref: https://www.flickr.com/photos/blue_ruin_1/8448420741] During the Russo-Japanese War (1904–05), the Japanese government sent postcards of beautiful Japanese women, bijin ehagaki (美人絵葉書), to soldiers to motivate them. Publishers continued to print them well into the 1920s. [Ref: Duits, Kjeld (February 21, 2022). 1910s: Geisha Postcards, OLD PHOTOS of JAPAN. Retrieved on March 31, 2024 (GMT) from https://www.oldphotosjapan.com/photos/883/vintage-geisha-postcards-early-20th-century] See also: Sakae さかえ - Meiji / Taishō Era Geisha https://www.flickr.com/groups/1988804@N22/pool/ The photochrom process Photochroms are not photographs but actual prints, produced using 6 to 15 colors and the lithography printing process. The technique was invented by the Swiss Hans Jakob Schmid during the 1880s. The fascinating aspect of these prints is that they are created from black and white photographs. It required quite some work and talent to create these images. The photographer would usually make notes about the colors in the image he shot. These enabled a painter to create a painting that served as a color guide for the litho stone maker. This artisan would then create multiple exposures of the original black-and-white negative, changing the exposure time, development settings, and using dodge and burn techniques to create the required set of 6 to 15 stones that would each be used to print one specific color. By combining all these colors you get the prints [Ref: https://www.prepressure.com/printing/history/photochrome-prints]This item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, geisha sakae, japanese postcard, postcard

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

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

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

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

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

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

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