Murray Comrie Collection.Sepia photographic postcard, with image of soldiers in uniform posed in a makeshift studio setting, with a prop boulder at left. Subjects are residents of Tarnagulla and other towns in surrounding district who served in First World War, dating the image to circa 1914-1918. Reverse is printed with postcard template. Handwritten note on reverse gives the following names: (From Left to Right) Back Row: Luther Stone, George Corrie, Cash Fitzgerald, Harry Biggs, Geo. Williamson Front Row: Bert Runting, Claude Whimpey, Bill (WIlliam) James, Bert Gray Same image as THA-2019.0026 (slight difference in names) Handwritten on reverse '1914-19 War' and 'Tarnagulla Boys' plus names.tarnagulla, waanyarra, war, military, service, soldiers, veterans, ww1, first world war, stone, corrie, fitzgerald, langan, runting, whimpey, james

Murray Comrie Collection. Original print.Photographic postcard with monochrome image of soldiers in uniform posed in a military camp, with buildings made of corrugated iron in the background. Main assembled subjects are residents of Tarnagulla and other towns in surrounding district. Reverse of item is printed as a standard postcard format. All subjects served in First World War, dating the image to circa 1914-1918. Same image as THA-2019.0025 which was accompanied by a note that gives the following names: (Left to Right) Back Row: 1. ______________ 2. Lew Allen 3. Bob Clark Middle Row: 1. ______________ 2. ________________ 3. _________________ 4. _________________ Front Row: 1. _______________ 2. Jack Sheldon 3. Will Kilgour 4. _________________ tarnagulla, war, military, service, soldiers, veterans, ww1, first world war, kilgour, allen, clark, sheldon

Murray Comrie Collection.Photographic postcard with sepia image of soldiers in uniform. Subjects are residents of Tarnagulla and other towns in surrounding district. All subjects served in First World War, dating the image to circa 1914-1918. Same image as THA-2019.0023, which is a copy print.Handwriting on reverse gives the following names: (Left to Right) Back Row: 1. Jim Browbill (Simpson's Creek) 2. Geo. Whyte (Tarnagulla) 3. Ken Bramley (Arnold's Bridge) 4. Geo. Riordan (Arnold's Bridge) Third Row from front: 1. Harold Spedding 2. Hewie Spedding (Laanecoorie) 3. Jack Graham (Murphy's Creek) 4. Syd Akers (Tarnagulla) 5. Geo. Corrie (Tarnagulla) Second row from front: 1. Geo. Clark (Llanelly) 2. Allan Mitchell (Llanelly) 3. Sergt. Anderson (Laanecoorie) 4. Jack Mitchell (Llanelly) 5. Will Kilgour (Tarnagulla) Front Row: 1. Fred Jackson (Tarnagulla) Also handwritten: 'I know all the boys except one...To Auntie Jarle (?) with love from Jack'tarnagulla, llanelly, laanecoorie, arnold, arnold's bridge, simpson's creek, murphy's creek, war, military, service, soldiers, veterans, ww1, first world war, kilgour, jackson, clark, mitchell, anderson, spedding, graham, akers, corrie, brownbill, whyte, bramley, riordan

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. This photographic equipment belonged to Louis Haeusler (b.1878) and is one of the many objects in the Haeusler Collection that represent home and social life in early twentieth century Wodonga. This item has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history. Kodak home developing and printing instruction booklet, printed in 1952.Printed text. Printed by "KODAK (AUSTRALIASIA) PTY. LTD.photography, photos, photographic, photographs, family photos, family photography, darkroom photography, dark room photography, kodak, wodonga, haeusler, haeusler collection

The Imperial Dry Plate Co., Ltd. was based in London and was founded in the early 1890s by J J Acworth (1853-1927). Kodak manufactured and distributed a wide range of photographic products to Australasia, including those made by the Imperial Dry Plate Co. A burgundy coloured cardboard box for glass photographic development plates with technical and manufacturers information printed on white paper on lid. The box is empty. photography, photograph, history of photography, dry plate photography, photographic equipment

These Kodak Photographic Dry Plates were manufactured at the Kodak plant in Abbotsford, NSW in the 1920s. A light tan coloured cardboard box with a paper label fixed to the label which features a Australian Red Ensign flag and printed text. The box is empty. photography, photographs, photo, kodak, history of photography, photographic equipment

Kodak manufactured and distributed a wide range of photographic products to Australasia, and operated a plant in Abbotsford, NSW from 1908 to the late 1950s.A light tan paper packet printed with a black green, yellow and red design, containing Kodak photographic paper.photograph, photography, photos, history of photography, kodak, photographic equipment, wodonga

Kodak manufactured and distributed a wide range of photographic products to Australasia, and operated a plant in Abbotsford, NSW from 1908 to the late 1950s.A light tan paper packet printed with a black green, yellow and red design, containing Kodak photographic paper.photograph, photography, photos, history of photography, kodak, photographic equipment, wodonga

Kodak manufactured and distributed a wide range of photographic products to Australasia, and operated a plant in Abbotsford, NSW from 1908 to the late 1950s.A brown rectangular cardboard box with manufacturers and production information printed on face. Hand drawn inscription in pencil in proper right corner: "14 - 3 - 63" Hand drawn arrow in bottom centre. Ineligible mark in black marker in centre proper left. photograph, photography, photos, history of photography, kodak, photographic equipment, wodonga

This photograph depicts the road diversion on Nepean Highway that was implemented to allow construction of the railway line underneath the Nepean Highway at Moorabbin. An "Allourie" Cheese, Honey Canned Ham van is prominent on the left of the image, the railway gates are central and the old Moorabbin Station is visble. Beyond the dates, pedestrians are visible crossing the Nepean Highway. This image is part of a larger collection of images from the Public Transport Corporation displaying train stations and streetscapes in what is now the City of Kingston.In 1958 excavations began for the removal of the level crossing gates at the southern end of the Moorabbin shopping centre on Nepean Highway. The station was also lowered below ground. A diversion route was created to enable the flow of traffic in both directions along the highway.Black and white photograph of road diversion on Nepean Highway, Moorabbin to allow the construction of the railway line below the Nepean Highway at Moorabbin and also to trench the station. This image is part of a larger collection of images from the Public Transport Corporation displaying train stations and streetscapes in what is now the City of Kingston.White adhesive dot sticker: Printed black 199 Handwritten in red ink: 80% Handwritten in black ink on yellow Post-It Note: [indecipherable] 199 - Diversion for Crossing Stamped in blue ink: COPYRIGHT Public Transport Corporation, For reordering photographs, Please quote negative No m 5687, Enquiries C/- PTC Photographic Unit, Telephone switchboard 619 1111railway crossing, railway station, city of moorabbin

This image is part of a larger collection of images from the Public Transport Corporation displaying train stations and streetscapes in what is now the City of Kingston.The Nepean Highway is a major highway running through the City of Kingston. This image is one of many that depicts its importance to the local community as it undergoes many changes over time.Black and white photograph depicting the level crossing at Moorabbin. While the gates at the level crossing are open, two cars are making their way across the crossing, while a third car is parked on the side of the road, in front of a large billboard/hoarding for ham and bacon products. There is a man standing on the road as if watching the cars go through the crossing. The road appears to be unsealed. Black printed text on a round white sticker adhered to the reverse: 148 Handwritten in red ink: 60% Blue ink stamped on reverse: COPYRIGHT / Public Transport Corporation / For re-ordering photographs / Please quote negative No ADU907 / Enquiries C/- PTC Photographic Unit / Telephone switchboard 619 111moorabbin, trains, railway crossing, level crossing, cars, roads, nepean highway

This image is part of a larger collection of images from the Public Transport Corporation displaying train stations and streetscapes in what is now the City of Kingston.The Nepean Highway is a major highway running through the City of Kingston. This image is one of many that depicts its importance to the local community as it undergoes many changes over time.Black and white photograph depicting railway crossing at Nepean Highway Moorabbin. The level crossing gates are open and a man is walking through with his dog. To the right of the crossing is a billboard/hoarding promoting what appears to be a brand of radio/wireless.White round sticker with indecipherable black printed text which has been scribbled over with black pen. White round sticker with black printed text: 175 Handwritten in red ink: 50% Blue ink stamped on reverse: COPYRIGHT / Public Transport Corporation / For re-ordering photographs / Please quote negative No ADV 903 / Enquiries C/- PTC Photographic Unit / Telephone switchboard 619 111moorabbin, trains, railway crossing, level crossing, nepean highway

This image is part of a larger collection of images from the Public Transport Corporation displaying train stations and streetscapes in what is now the City of Kingston.The Nepean Highway is a major highway running through the City of Kingston. This image is one of many that depicts its importance to the local community as it undergoes many changes over time.Black and white photograph of the level crossing at Neapean Highway Moorabbin. Photograph is a slightly side view, with a blurred image of a car approaching the level crossing. The gates are closed. To the left of the image is a pair of billboards. The billboard on the left is promoting Creamoata, a New Zealand brand of oats, and the billboard on the right is promoting Kraft cheese.White round sticker on reverse with black printed text: 147 Handwritten in red ink on reverse: 100% Blue ink stamped on reverse: COPYRIGHT / Public Transport Corporation / For re-ordering photographs / Please quote negative No ADV 1030 / Enquiries C/- PTC Photographic Unit / Telephone switchboard 619 111moorabbin, level crossing, railway crossing, cars, advertising, nepean highway

This image is part of a larger collection of images from the Public Transport Corporation displaying train stations and streetscapes in what is now the City of Kingston.While the focus of this image is the train line running overhead, the unsealed nature of the road speaks to the progression of suburban development during the 1920s.Black and white image of an unsealed underpass at Patterson Road, looking west. A car has stopped on the road in the distance and man is standing on the duckboard leaning into the car.Round white sticker on reverse with black printed text: 177 Handwritten in red ink: 60% Blue ink stamped on reverse: COPYRIGHT / Public Transport Corporation / For re-ordering photographs / Please quote negative No ADV 300 / Enquiries C/- PTC Photographic Unit / Telephone switchboard 619 111patterson road, railway, trains, cars, unsealed roads

This image is part of a larger collection of images from the Public Transport Corporation displaying train stations and streetscapes in what is now the City of Kingston.The development of the railway was crucial to the ongoing development of the area. Community life sprung up around the railway line which is evident in the proximity of shopping and leisure.Black and white photograph of railway gates at Centre Road, Bentleigh.Black printed text on a small, round, white sticker on reverse: 227 Handwritten in red ink on reverse: 50% Black typed text on a strip of white paper stuck on reverse: Gates Centre Road Bentleigh / mid 1960 / $50 reproduction fee applies Blue ink stamped on reverse: COPYRIGHT / Public Transport Corporation / For re-ordering photographs / Please quote negative No H 3407 / Enquiries C/- PTC Photographic Unit / Telephone switchboard 619 1111bentleigh, railway crossing, trains, suburbs, shopping strip

This image explores the relationship between the train lines and community development. Cheltenham's retail centre is connected to the train station.Black and white image of Charman Road, Cheltenham, depicting a car and truck travelling toward the level crossing near the train station. There is another car already waiting at the crossing gates. Cars are parked on either side of the road along a shopping strip.Black printed text on a white round sticker adhered to the reverse: 141 Handwritten in red ink on reverse: 50% Black typed text on a white strip of paper adhered to reverse: Charman Road, Cheltenham / circa late 1920's/early 1930's / $50 reproduction fee applies Blue ink stamped on reverse: COPYRIGHT / Public Transport Corporation / For re-ordering photographs / Please quote negative ADV 485 / Enquiries C/- PTC Photographic Unit / Telephone switchboard 619 1111cheltenham, trains, railway, railway crossing, shopping strip, cars

Photograph of a painted portrait of L/- Stan Savige. The signature appears to be 'Manders '45'. He appears to be in uniform and could be from his service in World War 2. Stanley Savige is seen as the founder of Legacy when it was founded in Melbourne in September 1923. He was born in Morwell Victoria on 26/6/1890. He served in the Australian Army between 1915 and 1946, including service in both World Wars. Stanley Savige was awarded a KBE, CB, DSO, MC,ED. Stanley George Savige was born in Victoria in 1890, and enlisted in the AIF (Private 577) in March 1915. He served with 24 Battalion at Gallipoli, and was commissioned as a 2nd lieutenant prior to the evacuation, at which he was part of the final holding party at Lone Pine. In France he saw service with 6 Brigade Headquarters as well as with his battalion, and was awarded the Military Cross for his gallantry at the second battle of Bullecourt. In 1918, he became one of a small number of Australians selected for service with 'Dunsterforce' in Persia, commanding 'Urmia Force', and was awarded the Distinguished Service Order. Between the wars, Savige continued his military career with the Militia, and by 1939 he held the rank of colonel. When the 2nd AIF was raised, he was placed in command of 17 Brigade, which he led through the campaigns in Libya, Greece and Syria, before being promoted to command 3 Division (Militia) in New Guinea. In 1944, he was appointed GOC 2 Corps, in command of forces engaged in the campaign on Bougainville, and accepted the Japanese surrender there in September 1945. Lieutenant General Savige was knighted (KBE) in 1950, and died in 1954. He is widely remembered for his efforts between the wars in founding the Legacy Clubs (which he modelled on the 'Remembrance Club' formed in Hobart by his friend and former commander Sir John Gellibrand in 1923) to care for the dependants of deceased servicemen and ex-servicemen. These clubs grew into a nation wide organisation which, by the time of Savige's death, was supporting over 80 000 widows and children.This is a photographic portrait of the founder of the first Legacy Club in Australia, Sir Stanley Savige.Black and white photo of a painting of Sir Stan Savige printed onto a postcard.Stamped with 'Photograph No. MH 91859 Supplied by Military History Section (S.D.9,) General Staff L.H.Q. For official purposes ONLY, NOT TO BE PUBLISHED' in purple ink.savige, portrait, stan savige, founding legatees

Copies of photos of the No 1 Australian Auxiliary Hospital set up in the ground of Harefield Park during the first World War. They were wooden huts. Also the graves of the deceased soldiers in the Australian Military Cemetery in 1919 in Harefield's St Mary's churchyard. Plus two photos of the Mansion at Harefield one in 1917 and one from 1927. Harefield Park was owned by Australian couple, Letitia Billyard-Leake (born Letitia Leake) and her husband Charles Billyard and their 4 children. The family donated their property, Harefield Park, to the Australian Government for use as an Australian-run hospital. The family moved off the property and lived nearby to help run the hospital. Letitia and her daughter, also named Letitia, ran the canteen while Charles Billyard organised activities and was a hospital board member. (from research from Carol Grbich and John Berger). During World War 1 the Australian Auxiliary Hospital No.1 was stationed at Harefield Park in Harefield, UxBridge, Middlesex UK. 111 Australian soldiers and one nurse from the hospital are buried at St Mary's Church, Harefield. This became an Australian Military Cemetery with individual headstones and an obelisk and arch. The headstones which are of a scroll design unique amongst Commonwealth War Graves Commission cemeteries were chosen by the staff and patients at the hospital. The arch was erected by the CWGC. Anzac Day services are held there and the local school became involved with the headmaster, Mr Jefferies, bringing the school children to lay flowers on every grave and attend the service on Anzac Day. This started in 1921 and has continued until at least 2021. One school child who attended was Mr Alf Young, he made contact with Legacy in the 1990s and sent photos of the Anzac Day Services and the cemetery. Legacy responded by sending Australian flags for the school children and also Legatee John Cohen met with Mr Young when in London. Melbourne Legacy staff member Susie Howard also visited Mr Young and the cemetery in 1995. Mr Young provided historical photos and information of the area to Legacy. He was featured in the widows' newsletter The Answer many times and his death was announced in The Answer in April 1997, he was 85. Many of the photos he provided were labelled as coming from Mr R G Neil, Photographic historian from Harefield. He holds copyright over those photos.A record that Legacy helped support remembrance of Anzac Day and World War 1 soldiers buried in the UK.Black and white photos x 4 of the Harefield Hospital and area from 1917 to 1927.02067.1 Printed on front 'Australian Auxiliary Hospital, Harefield No 1. 1914-1918'. Handwritten on reverse 'Harefield Park 1917'. Handwritten label 'Hospital as it was 1916-1918'. 02067.2 Handwritten on the reverse 'Part of the old Australian cemetery 1919'. Handwritten label 'The grave on the left "Private Wake" was the first grave in the cemetery'. 02067.3 Printed on the front 'The Lake, Australian Hospital Harefield Park, Mdx.' Handwritten on reverse 'Harefield Park 1917'. Handwritten label 'The lake in front of the mansion 1917'. 02067.4 Printed on the front 'Harefield Park' and 'Coles Watford'. Handwritten on reverse 'The Mansion, 1927 Harefield Park'. All four have a sticker of Mr RG Neil, the photograph historian that provided the reprint.cemetery, harefield, alf young, memorial, wreath laying ceremony, hospitals

Copies of historic photos from Harefield during World War 1. They are of the funerals of a soldier and Nurse Dickinson. They were both buried in the Military Cemetery in Harefield. During World War 1 the Australian Auxiliary Hospital No.1 was stationed at Harefield Park in Harefield, UxBridge, Middlesex UK. 111 Australian soldiers and one nurse from the hospital are buried at St Mary's Church, Harefield. This became an Australian Military Cemetery with individual headstones and an obelisk and arch. The headstones which are of a scroll design unique amongst Commonwealth War Graves Commission cemeteries were chosen by the staff and patients at the hospital. The arch was erected by the CWGC. Anzac Day services are held there and the local school became involved with the headmaster, Mr Jefferies, bringing the school children to lay flowers on every grave and attend the service on Anzac Day. This started in 1921 and has continued until at least 2021. One school child who attended was Mr Alf Young, he made contact with Legacy in the 1990s and sent photos of the Anzac Day Services and the cemetery. Legacy responded by sending Australian flags for the school children and also Legatee John Cohen met with Mr Young when in London. Melbourne Legacy staff member Susie Howard also visited Mr Young and the cemetery in 1995. Mr Young provided historical photos and information of the area to Legacy. He was featured in the widows' newsletter The Answer many times and his death was announced in The Answer in April 1997, he was 85. Many of the photos he provided were labelled as coming from Mr R G Neil, Photographic historian from Harefield. He holds copyright over those photos.A record that Legacy helped support remembrance of Anzac Day and World War 1 soldiers buried in the UK.Black and white photos x 2 of funerals in Harefield in 1918.One is printed on the front 'Military Funeral, Harefield' and on a label on reverse says 'Soldiers funeral on a gun carriage 1918. High St Harefield.' Other is labeled as 'Cortage of Nurse Dickinson's funeral June 1918, Village Green, Harefield.'cemetery, harefield, alf young, memorial, wreath laying ceremony

Former Junior Legatee Brian Edwards set out in September 1993 to complete a flight around Australia in a tiger moth called 'Matilda' as a tribute to Legacy's 70th Anniversary. He was due to arrive at Essendon Airport on 4th October 1993 and a celebratory luncheon was held. The event was supported by Ansett Airlines and Optus Communications. The promotion in The Answer invited anyone to come to the luncheon (cost $25 a head), and greet Brian and 'Matilda'. Many school children also attended the landing. President John Stevenson and Legatee George Woodward were among those attending and are photographed greeting Brian. Brian had previously flown Matilda from the UK to Australia, covering over 12,00kms in 3 months. See also photos at 00980, 00982, 00983. A record of a former Junior Legatee making a contribution to helping Legacy raise funds.Black and white photo x 11 of a tiger moth and aviator at Essendon Airport and an article in The Answer.Printed labels from Keesing Photographic on the back of each photo.fundraising, answer

Former Junior Legatee Brian Edwards set out in September 1993 to complete a flight around Australia in a tiger moth called 'Matilda' as a tribute to Legacy's 70th Anniversary. He was due to arrive at Essendon Airport on 4th October 1993 and a celebratory luncheon was held. The event was supported by Ansett Airlines and Optus Communications. The promotion in The Answer invited anyone to come to the luncheon (cost $25 a head), and greet Brian and 'Matilda'. Many school children also attended the landing. President John Stevenson and Legatee George Woodward were among those attending and are photographed greeting Brian. Brian had previously flown Matilda from the UK to Australia, covering over 12,00kms in 3 months. See also photos at 00980, 00982, 00983. A record of a former Junior Legatee making a contribution to helping Legacy raise funds.Black and white photo x 1 and proof sheet x 3.Printed labels from Keesing Photographic on the back of each sheet. Labelled in blue text 911003/A, 911003/B and 911003/Cfundraising, answer

Looking northeast near 107 on left and 118 on right, intersection with Riverina Road on left at corner and Bolton Street around bend to right of image. Image dated between similar images of known dates being Sep 1982 prior to road construction works and May 1983 when kerb and channel/sealing works completed.1983, footpaths and gutters, montmorency, private street scheme, quinn estate, road construction, road drainage, road sealing, sackville street

Looking south at present-day number 6 on right and present-day Kirwana Reserve on left. This photo was processed at the same time as image EDHS_07261 of roadworks in Sackville Street and EDHS_07262 of similar kerb and channel and sealing works in Bolton Street which has been dated as c.1983 (between Sep 1982 and May 1983).1983, footpaths and gutters, road construction, road drainage, road sealing, kirwana grove, kirwana reserve, montmorency

A single rollover kerb has just been laid on western side cut into the embankment. At the crest of the hill on right in front of the Ford Laser is a fire hyrdant. This photo was processed at the same time as image EDHS_07261 of roadworks in Sackville Street about 200 m away which has been dated as c.1983 (between Sep 1982 and May 1983). The paling fence on the left has a change of angle just before the crest of the hill then flattens. More recent Google Streetviews show the same fence and shape and in more recent times a new fence but same shape. Google Streetview for Jan 2008 indicates a more recent road widening and new profile kerb and channel. The embankment was further cut away and the footpath that was adjacent to the fence lowered to road level. The fire hydrant that was on the right hand side has been relocated to the left next to the footpath. Significantly more electrical wires are now strung on the telephone poles. In 2017 Bolton Street was again upgraded. The fire hyrdrant was then relocated to another (unknown) location.1983, footpaths and gutters, road construction, road drainage, road sealing, bolton street, eltham, sackville street

CELEBRATING CORONATION OF KING GEORGE V 1911. UNION JACK FLYING ON FLAG POLE. AUSTRALIAN FLAG ON TOWN HALL. POST OFFICE IN BACKGROUND.1 ORIGINAL BLACK AND WHITE PHOTOGRAPH MOUNTED ON CARDBOARD, CROWD SCENE IN FRONT OF CLUNES TOWN HALL, BAILEY STREET. .2 BLACK AND WHITE COPY OF ORIGINAL PRINTED ON MATTE PHOTOGRAPHIC PAPER .3 BLACK AND WHITE REPRODUCTION OF ORIGINAL PRINTED ON GLOSS PHOTOGRAPHIC PAPEROn Front; Handwritten in black ink "Empire Day Celebration - About 1910" crossed out, replaced by "Coronation of George V June 1911" On Back; Sir Alexander Peacock in dress & with plumed hat is on the dais at front of hall A.J. (Pakeha) Kemson is just at near of Sir Alex, Phil Rowe is next. J. F. Weickhardt in light hat near pillar at rightevents and celebrations, coronation, king george

Aerial photos were used to make maps of forest types, timber resources, to survey logging areas and regeneration, to mark boundaries of public land and new plantations, to identify new roads and tracks, as well as for fire suppression. Infrared film was sometimes used to monitor insect and disease attack. The images needed to sharp, with high contrast, and in a large format (most were printed in B&W on 9-inch by 9-inch glossy photographic paper) with at least a 60% overlap to enable stereoscopic viewing and with a 20-30% side lap to allow for aircraft drift. Preferably, the photo scale was close to the final map scale avoid to problems when enlarging and to reduce distortion. Something was needed to supplement the very expensive and infrequent large-area photography programs. From the mid-1960s Victorian foresters began experimenting with small format 70mm and 35mm cameras which proved simple, practical, cheap and flexible. It was found that any SLR camera could be used provided it had a good quality lens and fast shutter speed (preferably down to 1/1000 second). Motorised cameras with a large film capacity had obvious advantages and were essential when access to the camera was not possible during flight. It is also essential for the shutter to operate at low temperatures and those lubricated with silicones were recommended. Components of a typical FCV Divisional Office system included – A Hasselblad or Vinten 70 mm format aerial camera with a focal plane shutter which could be electrically operated. Interchangeable lenses to allow for different photo scales and flying heights. Several large film magazines, which were loaded in a darkroom, each with a capacity of 100 feet or approximately 500 frames. A remote control for the camera in single-shot mode or automatic firing at selected intervals of 2 to 50 seconds. It also needed a frame counter. A light aircraft was modified with an internal mounting for the camera to keep it level and steady. Often a hole was cut through the floor for the lens. The aircraft also needed an inbuilt 12 Volt DC battery to operate the motorised camera shutter. The front passenger seat was generally removed to improve access to the camera. An Aldis drift sight was also fitted. This might be likened to an inverted periscope and is used to determine drift, to facilitate accurate navigation along flight lines and to determine the exposure interval for stereoscopic overlap. This item is kept at Traralgon.Hasselblad 500 ELM camera with 70mm lens, film pack, motor drive and battery In 1964 Hasselblad started production of a motorized camera, the 500 EL The EL/M is a modified version of the EL, "M" means modified, "EL" electric. Perhaps the most famous use of the Hasselblad camera was during the Apollo program missions when man first landed on the Moon. Almost all of the still photographs taken during these missions used modified Hasselblad cameras. forests commission victoria (fcv), forest measurement, surveying, mapping

Print of an original oil painting created in 1874 (these numbers are in the top left corner) by artist Gabriel Max ("Gab Max" is in top right corner) and reproduced by Kodak. The reproduction was likely made for the Mission to Seamen from the early 1906 to the 1960s to hang in its chapel. The publisher Reinthal & Newman, New York, was in business between 1906 and 1928. The company originally published postcards, but from 1920 they published prints of art from original works of famous and not so well-known artists. The published items were distributed by the House of Art, NY, which continued on into the 1950s. The print was part of the original furnishings of St Nicholas Seamen's Church, Williamstown, Victoria. The church was operated by the Missions to Seamen organisation. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the organisation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. The print is significant because of its association with the Mission to Seamen in Williamstown, Victoria. This organisation had strong connections to the colonisation of Victoria by people travelling and arriving by sea. The picture is also significant as a representation of 19th century religious art by Gabriel Cornelius von Max.Print of an oil painting representing Jesus Christ, closed eyes, tear on cheek, with a crown of thorns, titled “Jesus Christus”, produced in 1874 by 19th century artist Gabriel Cornelius von Max (GAB MAX). Print on paper; black and grey drawing on beige canvas-look background with image of fixing pins in each corner, edges look like torn fabric. Published by Reinthal & Newman, New York. Print is behind glass, mounted in heavy wooden frame that is painted dark brown. Reverse has numbers on small white label. Base of reverse has two small holes, each with indentations from something round. Backing board has indentations from nails no longer there. There are remnants of original hanging wire, but this has been replaced. Part of the St Nicholas Seamen's Church Collection.FRONT: Top left :1874” Top right “GAB MAX” [Gabriel Cornelius von Max] Handwritten script under picture “Jesus Christus”. Printed bottom left on front “A33 © REINTHAL & NEWMAN PUBS. N.Y.” REVERSE: “162” written in black felt pen on white label. Pencilled on reverse "11 3/8 x 9 1/4" and "Kodak" and other indecipherable markings.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, christian art, picture of jesus christ, jesus christus, photographic print of jesus christ, missions to seamen victoria, mission to seafarers, flying angel’s club, religious worship, reinthal & newman new york, jesus christ with crown of thorns, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, harbor lights guild, joy club for fighters, ladies lightkeepers’ auxiliary, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, print, religious print, jesus christ, 1874, 19th century artist, gabriel cornelius von max, gab max, gabriel max, reinthal & newman, oil painting, st nicholas seamen's church, a33 © reinthal & newman pubs. n.y., kodak, house of art

This photograph is of Tom Pearce, one of only 2 survivors from the shipwreck LOCH ARD. Loch Ard was bound for Melbourne in 1878 loaded with passengers and cargo when it ran into a rocky reef at the base of Mutton Bird Island, near Port Campbell. Of the 54 crew members and passengers on board, only two survived: an apprentice, Tom Pearce and a young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Coleman Jacobs composed the music “The Young Hero Schottische” and dedicated it, by permission, to Mr. Thomas R. (Tom) Pearce. The sheet music was published in 1878 by the Messieurs Roberts, professors of dancing etc. Melbourne. It was on sale for 3/- (3 shillings) and in aid of the “LOCH ARD” fund. [This is Coleman Jacobs’ only surviving musical work Coleman Jacobs, accomplished pianist, musical performer, singer, composer, professor of music and music teacher, was born in 1827 and died on 4 July 1885, aged 58 years. Coleman Jacobs was buried in the Melbourne Cemetery (grave 461, Church of England section).] The wreck of Loch Ard still lies at the base of Mutton Bird Island and much of the cargo has been salvaged. Some was washed up into what is now known as Loch Ard Gorge following the shipwreck. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. The photograph is significant for its association with the wreck of the Loch Ard. This wreck has been protected as a Historic Shipwreck since 11 March 1982, under the Commonwealth Historic Shipwrecks Act (1976) Flagstaff Hill’s collection of artefacts from Loch Ard is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register. The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the Loch Ard, which was one of the worst and best known shipwrecks in Victoria’s history. The Loch Ard collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history. Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Photograph of Mr Tom Pearce dressed in a uniform with a medal pinned on it. Standing with his arm resting on a masonry pillar. Reverse has piece of tape centre top and bottom. Also has printed maker’s information. Printed by the Photographic Society of Victoria, Melbourne.Printed green text “PHOTOGRAPHIC / SOCIETY OF VICTORIA / MELBOURNE / REGISTERED COPYRIGHT / JULY 24th 1878” and “NONE ARE GENUINE UNLESS WITH / SIGNATURES THUS” and “PRESIDENT / VICE PRESIDENT / SECRETARY” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, loch ard shipwreck, tom pearce, thomas r pearce, eva carmichael, mutton bird island, loch ard survivor, loch ard hero, coleman jacobs, the young hero schottische, photograph of tom pearce

.137mm w x .210 mml x .13mmThick. Contains 302 pages.The authors experience during the Second World War.journalis, football reporter, australian rules, squizzy taylor, captain francis de groot, melbourne herald, the truth, argus, the sun news pictorial

A.C. (Arthur Charles) Simon a pioneer orchardist in the Bacchus Marsh district planted this avenue of Osage orange trees in about 1883, creating an imposing entrance to his property from Taverner Street. Simon also believed that the trees on his orchard property would provide a protective shelter for his other plants. Osage orange trees (Maclura pomifera) are a small deciduous tree or large shrub, native to the south-central United States. It usually grows to about 8 to 15 metres high. The distinctive fruit, a multiple fruit that resembles an immature orange, is roughly spherical in shape, about 8 to 15 centimetres in diameter, and turns bright yellow-green in the autumn. A. C. Simon is believed to have imported the Osage orange seeds from America around the 1860s and later used them to plant the trees depicted in this image. The date of this image is not certain but it probably shows the trees around the 1900s or 1910s. The avenue of trees was known for many years in Bacchus Mars as 'Simons Avenue', and were featured in a Rose series postcard dating from around 1900-1920. The remnants of this avenue or grove of trees can be seen on some of the properties on the north side of Taverner Street Bacchus Marsh and along the Werribee River west of the FIsken Street bridge.The Bacchus Marsh Heritage Study of 1995 described the Osage Orange Tree avenue as being of regional historical significance as a landscaping practice, pioneering of its type, It was also described as of local significance as a well-known landmark due to it be being represented on widely distributed post cards which depicted scenes of Bacchus Marsh in the early part of the twentieth century. This early photographic image is evidence of this social and cultural significance.A black and white photograph print mounted on mounting board showing an avenue of Osage orange trees. trees, osage orange trees, simon family bacchus marsh, arthur charles simon 1833-1924, orchardists