One of a group of unprovenanced photographs donated to the Society by Betty Morgan.While its provenance is unclear, and it has suffered from fading, the photograph is a useful record of children's clothing in the first decade of the Twentieth Century. It is an example of Massingham's commercial photography at his studio in Bendigo. The clothing worn by the boys can be used to deconstruct social values in the period preceding the First World War.Faded sepia studio photograph of three unidentified boys, the oldest boy dressed in a quasi-military uniform; the two younger in berets and lace collars. The photographer is named as G.L. Massingham ( (George Leake, active 1866-1921) of View Street, Bendigo (and Geelong); active in View Street from 1901-c.1921.G. L. MASSINGHAM / VIEW STREET. BENDIGOaustralian photographers - g. l. massingham - view street - bendigo

One of a series of photographs, taken by Edgar James Dower in the second decade of the twentieth century. Born and raised in Olinda, his family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tramlines, railways and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs, both individually and collectively, richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's public transport network in the years preceding and during World War 1.Digital copy of a an original mounted photograph showing the Camberwell Railway station being demolished and the Auburn Railway Station. The photos were later dated by the photographer as being taken in 1915.verso: "2015 / Top picture - Original Camberwell railway station being demolished / Bottom picture - Original Auburn Railway station on left / Taken by E.J. Dower"theme -- connecting victorians by transport and communications, camberwell railway station, auburn railway station, theme - travelling by train

One of a series of photographs, taken by Edgar James Dower in the second decade of the twentieth century. Born and raised in Olinda, his family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tramlines, railways and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs, both individually and collectively, richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's public transport network in the years preceding and during World War 1.Digital copy of an original mounted photograph depicting workers regrading the Camberwell Railway line following the demolition of the original Camberwell Railway Station. The photographer noted the presence of a wheeled 'steam shovel' at left Verso: "1915 / Regrading Camberwell railway line taken just east of Camberwell Station / Note steam shovel at work / Taken by E.J.D."theme -- connecting victorians by transport and communications, theme - camberwell railway station, theme - travelling by train

One of a small album of six photographs of the construction of the Cotham Road tramline in Kew, taken by Edgar James Dower in the second decade of the twentieth century. The reverse of each photo contains notes, written over time by the photographer, which are contained in the 'Inscriptions' field. Born and raised in Olinda, Dower's family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tram and train lines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office. The album as a whole can be viewed separately as the parent file.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs in the album, as well as Dower's single photos mounted on card, individually and collectively richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's tram and train networks in the years preceding and during World War 1.The first of six annotated photos in an album of photographs of the construction of the St Kilda to Kew electric tram line, taken in Cotham Road, Kew, by the amateur photographer, Edgar James Dower, in 1913. The album contains images detailing the preparation for the laying of the tracks plus work laying the line. The photographer notes on a number of the photos that te metal tracks were collected from the Hawthorn railway siding. The album, together with other phots by E.J. Dower has been made available by the owners for the Kew Historical Society to digitise and publish online and in print.Annotation verso: "1913 / Preparing for electric trams in Cotham Road Kew, looking west / Taken from corner of Burke Road by E.J. Dower / The metal was brought by horse and drays, from Hawthorn rail-way siding".keywords, theme -- connecting victorians by transport and communications, theme -- travelling by tram, photographers -- edgar james dower, cotham road -- kew (vic.)

One of a small album of six photographs of the construction of the Cotham Road tramline in Kew, taken by Edgar James Dower in the second decade of the twentieth century. The reverse of each photo contains notes, written over time by the photographer, which are contained in the 'Inscriptions' field. Born and raised in Olinda, Dower's family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tram and train lines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office. The album as a whole can be viewed separately as the parent file.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs in the album, as well as Dower's single photos mounted on card, individually and collectively richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's tram and train networks in the years preceding and during World War 1.The second of six annotated photos in an album of photographs of the construction of the St Kilda to Kew electric tram line, taken in Cotham Road, Kew, by the amateur photographer, Edgar James Dower, in 1913. The album contains images detailing the preparation for the laying of the tracks plus work laying the line. The photographer notes on a number of the photos that the metal tracks were collected from the Hawthorn railway siding. The album, together with other phots by E.J. Dower has been made available by the owners for the Kew Historical Society to digitise and publish online and in print.Annotation verso: "Preparing electric tram Cotham Road, Kew, 1913 / The metal was brought by horses and drays, from Hawthorn railway siding".keywords, theme -- connecting victorians by transport and communications, theme -- travelling by tram, photographers -- edgar james dower, cotham road -- kew (vic.)

One of a small album of six photographs of the construction of the Cotham Road tramline in Kew, taken by Edgar James Dower in the second decade of the twentieth century. The reverse of each photo contains notes, written over time by the photographer, which are contained in the 'Inscriptions' field. Born and raised in Olinda, Dower's family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tram and train lines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office. The album as a whole can be viewed separately as the parent file.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs in the album, as well as Dower's single photos mounted on card, individually and collectively richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's tram and train networks in the years preceding and during World War 1.The third of six annotated photos in an album of photographs of the construction of the St Kilda to Kew electric tram line, taken in Cotham Road, Kew, by the amateur photographer, Edgar James Dower, in 1913. The album contains images detailing the preparation for the laying of the tracks plus work laying the line. The photographer notes on a number of the photos that the metal tracks were collected from the Hawthorn railway siding. The album, together with other phots by E.J. Dower has been made available by the owners for the Kew Historical Society to digitise and publish online and in print.Annotation verso: "Preparing Cotham Road Kew for electric trams / The metal was brought by horses and drays, from Hawthorn railway siding / 1913".keywords, theme -- connecting victorians by transport and communications, theme -- travelling by tram, photographers -- edgar james dower, cotham road -- kew (vic.)

One of a small album of six photographs of the construction of the Cotham Road tramline in Kew, taken by Edgar James Dower in the second decade of the twentieth century. The reverse of each photo contains notes, written over time by the photographer, which are contained in the 'Inscriptions' field. Born and raised in Olinda, Dower's family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tram and train lines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office. The album as a whole can be viewed separately as the parent file.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs in the album, as well as Dower's single photos mounted on card, individually and collectively richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's tram and train networks in the years preceding and during World War 1.The fourth of six annotated photos in an album of photographs of the construction of the St Kilda to Kew electric tram line, taken in Cotham Road, Kew, by the amateur photographer, Edgar James Dower, in 1913. The album contains images detailing the preparation for the laying of the tracks plus work laying the line. The photographer notes on a number of the photos that the metal tracks were collected from the Hawthorn railway siding. The album, together with other phots by E.J. Dower has been made available by the owners for the Kew Historical Society to digitise and publish online and in print.Annotation verso: "Preparing tram line Cotham Road Kew looking east for electric trams / 1913 / The metal was brought by horses and drays, from Hawthorn railway siding / 1913".keywords, theme -- connecting victorians by transport and communications, theme -- travelling by tram, photographers -- edgar james dower, cotham road -- kew (vic.)

One of a small album of six photographs of the construction of the Cotham Road tramline in Kew, taken by Edgar James Dower in the second decade of the twentieth century. The reverse of each photo contains notes, written over time by the photographer, which are contained in the 'Inscriptions' field. Born and raised in Olinda, Dower's family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tram and train lines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office. The album as a whole can be viewed separately as the parent file.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs in the album, as well as Dower's single photos mounted on card, individually and collectively richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's tram and train networks in the years preceding and during World War 1.The fifth of six annotated photos in an album of photographs of the construction of the St Kilda to Kew electric tram line, taken in Cotham Road, Kew, by the amateur photographer, Edgar James Dower, in 1913. The album contains images detailing the preparation for the laying of the tracks plus work laying the line. The photographer notes on a number of the photos that the metal tracks were collected from the Hawthorn railway siding. The album, together with other phots by E.J. Dower has been made available by the owners for the Kew Historical Society to digitise and publish online and in print.Annotation verso: "Preparing tram line Cotham Road Kew for electric trams, looking west / 1913"keywords, theme -- connecting victorians by transport and communications, theme -- travelling by tram, photographers -- edgar james dower, cotham road -- kew (vic.)

One of a small album of six photographs of the construction of the Cotham Road tramline in Kew, taken by Edgar James Dower in the second decade of the twentieth century. The reverse of each photo contains notes, written over time by the photographer, which are contained in the 'Inscriptions' field. Born and raised in Olinda, Dower's family later moved to Surrey Hills. He worked as an adult as a clerk in the city office of the Metropolitan Gas Company, and in his role as a 'collector', he was able to photograph scenes including the construction of tram and train lines and associated buildings in Kew, Hawthorn, Camberwell and Surrey Hills. Later he established a real estate agency with his brother - the E.J. Dower Real Estate Agency, Dandenong Office. The album as a whole can be viewed separately as the parent file.The image is an historically significant record of the development of transport infrastructure which was used to connect Victorians in the first two decades of the twentieth century. This development resulted from increases in population and the consequent extension of Melbourne's suburbs. The photographs in the album, as well as Dower's single photos mounted on card, individually and collectively richly detail the labour of workers and the tools and machinery used to create and extend Melbourne's tram and train networks in the years preceding and during World War 1.The sixth of six annotated photos in an album of photographs of the construction of the St Kilda to Kew electric tram line, taken in Cotham Road, Kew, by the amateur photographer, Edgar James Dower, in 1913. The album contains images detailing the preparation for the laying of the tracks plus work laying the line. The photographer notes on a number of the photos that the metal tracks were collected from the Hawthorn railway siding. The album, together with other phots by E.J. Dower has been made available by the owners for the Kew Historical Society to digitise and publish online and in print.Annotation verso: "Preparing tram line Cotham Road Kew for electric trams / 1913 / The metal was brought by horse and drays, from Hawthorn railway siding".keywords, theme -- connecting victorians by transport and communications, theme -- travelling by tram, photographers -- edgar james dower, cotham road -- kew (vic.)

Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.The subdivision advertised as the Golf View Estate in Camberwell included 32 allotments bordering on Glen Iris Road, Smith Street (now Smith Road), St Andries Street and Camberwell Road. In the post-war period in which the subdivision took place, the significance of Camberwell as the ‘Heathiest of Suburbs’ because of the undulating nature of its terrain and its high altitude was promoted. The sales pitch aimed at attracting and selling to ‘Gentlemen’ who could take advantage of the nearby trams, which would take them to the ‘heart of the city’.subdivision plans - camberwell, golf view estate

Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.The Dale Estate in Deepdene was made possible by the death of Robert Sparrow Smythe, Australian journalist, newspaper editor/owner and theatrical manager. Smythe lived in his residence ‘Highate’, Deepdene until his death in 1917. In the subdivision proposed one year later, before the end of the First World War, 18 allotments were to be created. The very fragmentary plan in the Society’s collection notes that a large weatherboard [house] will need to be removed. This may be Smythe’s own home. The proposed subdivision included allotments facing Burke and Whitehorse Roads and Dale Street. Bordering the subdivision is the Deepdene Station and the Outer Circle Railway Line. The clear directions on the plan indicate that in 1918 it was possible to travel by train from Deepdene to East Camberwell and Ashburtonsubdivision plans - deepdene, the dale estate

Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. A number of the latter are by noted photographers such as J.E. Barnes.The Clifton Estate was an ambitious subdivision. It included 61 allotments bordering Cotham and Park Hill Roads, and Florence and Adeney Avenues. It is difficult to ascertain the exact year when the ‘Clifton Estate’ was surveyed, subdivided and first auctioned. The uncertainty may be due to allotments being released during the First World War. The subdivision took its name from the house ‘Clifton’ (lot 5) on the corner of Adeney Avenue and Cotham Road. The outline of Clifton (since demolished) and the extent of its land following the subdivision are represented on the plan. The auctioneers have also shown ‘Maryfield’ and ‘Wimba’, the neighbouring properties in Cotham Road, on the plan."B"subdivision plans - kew, clifton estate, cotham road, adeney avenue, florence avenue, park hill road

This photograph was printed from a glass negative held in the Society's picture collection. The original glass negative is part of a set donated to the Society by Ian McKenzie, a professional photographer in Kew. Patriotic gathering, ca. 1914-ca. 1918. A civic hall used for a patriotic gathering; during or after World War I. Around the walls of the crowded hall are banners representing some of the allied nations fighting in the war, including France, Britain, Japan and Belgium. Two soldiers, both in military uniform can be seen at the front left of the photograph. first world war (1914-18), world war 1, glass negatives

The small French village of Vignacourt was always behind the front lines. For much of the First World War it was a staging point, casualty clearing station and recreation area for troops of all nationalities moving up to and then back from the battlefields on the Somme. Remember me: the lost diggers of Vignacourt tells the story of how one enterprising photographer took the opportunity of this passing traffic to establish a business taking portrait photographs. Captured on glass, printed into postcards and posted home, the photographs made by the Thuillier family enabled Australian soldiers to maintain a fragile link with loved ones in Australia. The Thuillier collection covers many of the significant aspects of Australian involvement on the Western Front, from military life to the friendships and bonds formed between the soldiers and civilians. The exhibition showcases a selection of the photographs as handmade traditional darkroom prints and draws on the Memorial's own collections to tell the story of these men in their own voicesapprox 4000 images were discovered in the attic of a barn Vignacourt, of soldiers and other life in WW1.An exciting story about the discovery of the plates of Vignacourt

Probably taken at Broadmeadows Camp in 1915Historical image of recruits in World War One ( 1914 - 1918 )Black and white photograph mounted on card of seven soldiers with rifles posed outside a tent.On reverse side " James Colquhoun, Photographer { Unclear Street, Prahran )

Remount Section broke and prepared horses for Light Horse RegimentsRare photo of men of very small unitBlack and white photograph mounted on card of eight soldiers posed in front of building. The soldiers on either end of group are possibly indigenous men.On reverse " Remount Depo ( sic ) " and " Mr. J. Bell Box 5 Wangaratta " also in faint pencil " L - 1003 - 1 " and very faint ink stamp " M B Read Photographer 10 Mathews Pd Toorak Melbourne "military, horses, remount, world war one, wwi, aboriginal

Norma Bull in a window of 'Medlow', 1920s Her brother (Ronald) Richard was a keen photographer and is believed to have taken the photographs of the family and in the grounds of 'Medlow'. Norma Catherine Bull (7 September 1906 – September 1980) was an Australian painter, printmaker and etcher best known for the paintings and sketches she made in Britain during World War II. Norma was the daughter of Richard Joseph Bull (1874-1927) and Catherine Grace Perrier (1884-1972). Her father was the Director of Bacteriology at Melbourne University. Richard and Catherine had 2 children. Norma was born in Hawthorn in 1906 and her brother Ronald Richard was born in Surrey Hills in 1912, where in 1911 Richard bought a property at 42 Warrigal Road, Surrey Hills developed by Colonel William Cairncross, known as ‘Willcyrus’ and renamed ‘Medlow’ by the Bulls. As a child, Norma was a high achiever both intellectually and artistically. She was educated at Fintona, where she matriculated as Dux of the School and winner of an exhibition in French. She won a scholarship to attend the University of Melbourne where she studied French, Zoology, Philosophy, English and History, leading to a Bachelor of Arts in 1929. Following this she studied painting and drawing at the National Gallery Art School for seven years. Whilst most of the students of the 1930s were inspired by Modernism, Norma followed more traditional styles and became known for her etchings and realistic depiction of urban scenes. Her work was strongly influenced by the conservative nature of the National Gallery Art School under Bernard Hall, and she remained a traditionalist all her life. In 1938, she was awarded the Sir John Longstaff Scholarship in Fine Art. This enabled her to travel to England to study at the Royal Academy in London. She arrived in April 1939 and after the outbreak of war, she worked as a volunteer at a First Aid Clearing Station and applied to become a war artist. In 1941, she was given a sketching permit by the War Artists Advisory Committee to record bomb damage in the Bristol area. In 1947, an exhibition of her 205 wartime works entitled “Two Hemispheres”, opened at Australia House in London. Many were acquired for major collections in England including the Victoria and Albert Museum, the Imperial War Museum and the Royal Collection. The “Two Hemispheres” exhibition toured Australia in 1948 and for over twelve months she followed Wirth’s Circus around the country, painting aspects of circus life. From then on she lived at Medlow’, From 1960 she was secretary of the Fellowship of Australian Artists. She was a finalist in the Archibald Prize on 2 occasions and is remembered through a biennial Art Prize, ‘The Norma Bull Portraiture Scholarship’ which is administered by The Victorian Artist’s Society. She continued to paint landscapes and seascapes in her traditionalist style. She had holiday homes at Anglesea and Bright. After she died in September 1980, 31 of her works were bequeathed to Bright Art Gallery. A black and white photograph of a lady holding a sun umbrella and sitting in a window frame.miss norma bull, medlow, house names, warrigal road, surrey hills, mr ronald richard bull

Red Hard Cover Booknon-fictionReproduction of Pictures taken by the Australian Official Photographers.

Des Martin lived all his life in Wodonga, except for his years of service during World War Two. He was raised on the family property Aherlo in the Huon Creek Valley. In 1937 he joined the 8th Light Horse Regiment but in May 1940 led his Wodonga Troop into the 2/2nd Australian Pioneer Battalion, which saw service in Syria, Java, New Guinea and Borneo. After the war, Des returned to Aherlo and his horses. He was granted permission by the Victorian Racing Club to participate as an amateur “gentleman” rider. He was a founder of the Victorian Amateur Riders Association and also the Murray Valley Hunt Club, for which he was Master for 21 years. He was a prolific writer, cartoonist, photographer and poet, contributing to The Border Morning Mail, The Age, and the Herald and Weekly Times amongst other publications. Des Martin’s other literary works included Australia Astride (1959), A Tale of Twin Cities, Part One (1981) and Backing up the Boys (1998). In 1976, Des wrote an historical novel, “Many a Mile”, based on a fictional region which highly resembled the Albury-Wodonga and Upper Murray area of Victoria. It was set in the last 10 years leading up to Federation. Throughout this period tensions (caused by fluctuating border duties, including an infamous impost on cattle and horses) occasioned the intermittent posting of heavily armed police detachments along the River Murray. Des also wrote eight 50-minute scripts from “Many a Mile” as a television series and were presented to Michael Pate, one of Australia’s leading actors and producers. Also, funding was sought through the Australian Broadcasting Commission ... unfortunately the series never came to fruition. This album is a pictorial precis, including photos and scene descriptions, created to promote the concept of the series and have it produced locally in North Eastern Victoria featuring local settings, skilled horsemen and actors. It was to be called “Ringer’s River” ... Ringer being the title accorded to either a top cattle hand, or the fastest shearer in the wool shed. Des Martin died on 12th April 1995.These albums and images are significant because they document literature written by a prominent member of the Wodonga community. The presentation of this precis was supported by several significant district families and individuals.Documents written to introduce the concept of "Ringer's River" to gain interest for the development of a television seriesdes martin, many a mile, ringer's river, northeast victoria stories

Percy Fairlam was an early 20th Century photographer living and working in Cheltenham. Fairlam captured important social and landscape scenes in and around the Cheltenham area including cliff faces, sea baths, and rock pools. With the outbreak of World War I (WWI), Fairlam began training in Seymour and documented preparations for war, comradeship and the voyage to France and war. Shrapnel to the shoulder, on 4 January 1917, saw Fairlam evacuated to England and resulted in him being separated from his personal possessions. As such, all these images have been lost. After the war, Fairlam moved into the family business and no longer pursued professional photography. However, he continued to take an interest in the art form capturing intimate family moments as well as continuing to capture social and landscape scenes.Black and white photograph of a Richard William Percy Fairlam (Percy Fairlam) standing in the doorway of a small wooden building. Above the doorway is a painted sign advertising it as the photography business of R.P. Fairlam. In the large window at the front of the shop a number of photographs can be seen.Handwritten in red ink on reverse: 115% Black printed text on a white round sticker on reverse: 71

There was a program to send young legatees on trips on the Alma Doepel sailing ship through the 1980s and 90s. The articles from the Answer show timetables and criteria for nomination of junior legatees to be selected on the trips. One of these articles mentions the war service of the Alma Doepel - the only ship with served in World War II that was still active in 1995. These photos were in a folio of photos from 1988 to 1990. They were taken by Peter from Keesing Photographers before the journey started on 27 November 1988. Other photos from the same trip are at 01530 and taken by a Legatee. The letter was with the photos but is from a different voyage and is dated 30 December 1996. A Junior Legatee, Kim Anderson, wrote to Legacy thanking them for the opportunity to be on a 9 day voyage on the Alma Doepel. She mentions: "I learnt not only .. how to sail .. but also about teamwork, responsibility, friendship and respect." Also: "As one of the older children who attend these activities I feel I can now appreciate the thought and organisation that goes into these days and camps much more." A record of a Legacy providing amazing experiences for the junior legatees that they might never have done because of the deaths of their fathers.Colour photo x 6 of Junior Legatees on the Alma Doepel and a letter thanking Legacy for the opportunity.White paper labels with black type "First day aboard the 'Alma Doepel'. Junior Legatees from Victoria and interstate listen anxiously to the Captain at the start of a 10 day voyage of a life-time around Port Phillip Bay. Hand written on the back 881227/9 and 881227/4 in black texta.junior legatee outing, answer, alma doepel

A photo of a troop ship in 1917. This could be the ship Private John Basil McLean travelled to Europe on, and the signatures were his shipmates and the photo was kept as a souvenir of the voyage. Was with other World War 1 memorabilia that has come from Private John Basil McLean, 2nd Reinforcements, 37th Battalion, A.I.F. J.B. McLean (Service No. 13824) was from near Maffra, Victoria and enlisted on 22 January 1916. He embarked on 16 December 1916 on the transport "Medic" for Plymouth, UK, arriving on 18 February 1917. His full war record is available from AWM. He spent time with the Australian Field Artillery (Pack Section). At the end of the war he worked for a year at the A.I.F. Headquarters in London before returning to Australia on the 'Ceramic', arriving Portsea in 1920. Some of the names that are visible are: AA Nelson, Runs, Cyril Barling, Ballantyne, H Robinson, MRH Wright, WG Brabney, NM Hart, HG Worboys, JV Martin, Lardner, JJ Charity, OH Newton, ? Martin, HE Thompson, ?, Bertram May, ? Allam, EJ Burge, LJ Baker, AW Lampard, AS Wickers, Frank H Buff. From Motor Transport: HL Brown, WJ Osborne, EB Kirby, FG Prowse, JW Aspinall, TH Masonette, HR Hadacre. John B Ryder, HW Humphries, David Thomas, VV Pahtonson? Allan Cartlee, PH Doolan, W Riddell, W Rillovison, FR George, HH Syllis, Wm Ford, JBM McLean, ? Gale, F Marsh, CSM McLean, Frank H King, C Pregeau, DW Parsons, Reginald G Edwards, RW Hornabrook. John B Ryder, HW Humphries, Dempsey, HE White, AE Lee, WR Somersby, Phillip L Higgins. Frank H ?, C Prg?, DW Parsons, Reginald G E?, Dick Cushe, and othersA record of a troopship photo being made to commemorate the voyage.Black and white photo of troop transport ship with signatures of passengers on the border.Signatures in black ink around the border. Gold stamp of the photographer: 'Exchange Studios, 47 & 49 Pitt St Sydney'. On the back in ink: '13824 J.B. Mclean A.A.S.C. Reinforcement / Intermediate Base / A.I.F. Abroad / Signatures of A.S.C. Motor Transport and friends on board the A.7 / 17.2.17'world war one, souvenir

There was a program to send young legatees on trips on the Alma Doepel sailing ship through the 1980s and 90s. On the back of some photos were names: Junior Legatee Jane Hornblow (Canberra) / Legatee Keith Dale(?) / Junior Legatee Leonard Jono Bonnett (Adelaide). Also the same children with Legatee Scotty Scott (in a navy jacket). The articles from the Answer show timetables and criteria for nomination of junior legatees to be selected on the trips. One of these articles mentions the war service of the Alma Doepel - the only ship with served in World War II that was still active in 1995. These photos were in a folio of photos from 1988 to 1990. Official photos were taken by Peter from Keesing Photographers before the journey started on 27 December 1988 are at 01054. These photos were taken by a Legatee, L/ George Scott. Also at 01054 is a letter from a different voyage and is dated 30 December 1996 and sums up the outcomes of such trips. A Junior Legatee, Kim Anderson, wrote to Legacy thanking them for the opportunity to be on a 9 day voyage on the Alma Doepel. She mentions: "I learnt not only .. how to sail .. but also about teamwork, responsibility, friendship and respect." Also: "As one of the older children who attend these activities I feel I can now appreciate the thought and organisation that goes into these days and camps much more." Was in a scrapbook of photos spanning 1987 to 1991.A record of a Legacy providing amazing experiences for the junior legatees that they might never have done because of the deaths of their fathers.Colour photo x 5 of Junior Legatees on the Alma Doepel in 1988.White paper label handwritten in blue pen 'Please find enclosed some photos I took of Jun Legatees at Alma Doepel's sailing 27.12.88. May be of use to you for publicity. Legatee George Scott.' Two photos have names on the back in black pen. junior legatee outing, answer

The photo shows a small girl presenting a bunch of flowers to Lady Lavarack on the steps of Moorlands. The Queensland Governor Sir John Lavarack and his wife were attending the opening of the Legacy childrens' residence, Moorlands, in Brisbane on 20 February 1947. Legatee Stan Savige had travelled to Brisbane for the event, he is at the centre rear. From TROVE: Telegraph (Brisbane, Qld. : 1872 - 1947), Tuesday 18 February 1947, page 7 FOR OPENING OF LEGACY HOME Lieutenant-General Stan Savige (left) arrived in Brisbane this afternoon to attend the opening of the new Legacy home, Moorlands, at Coronation Drive. On the right is Mr. F. E. Lascelles, Brisbane president of Legacy. Moorlands will be opened by the Governor (Sir John Lavarack) on Thursday. Moorlands is a heritage-listed villa at 451 Coronation Drive, Auchenflower, Queensland, Australia. It was designed by Richard Gailey and was built c. 1892 by contractor Arthur Smith. It was added to the Queensland Heritage Register on 21 August 1992. In 1947 the building was sold to the Brisbane branch of the Legacy War Widows and Orphans Fund, and accommodated war-orphaned children and widows until 1971.Some Legacy events were attended by dignitaries, such as the State governors' and their wives and the events were covered by press photographers and reported in newspapers.Black and white photo of a girl presenting flowers to the Queensland Governor's wife at Moorlands.Handwritten 'Complements from J D Coots(?)' in pencil. Stamped with copyright of 'The Telegraph Feature Service Brisbane', in purple ink.residences, moorlands

A drawing done by artist Pat Hanna and sent to friends at Legacy. He was living in London at the time and drew this on his letterhead. It was stored with other items including a letter to Frank in 1972 (possibly L/- Frank Doolan who was making an attempt to collect items relevant to Legacy's history for an official archive project - see items 01400 to 01403). Pat Hanna was an entertainer, comedian, artist and producer of reveues, plays and movies. One of his first revues was performed in France just after the armistice. A popular stage show was 'Diggers' that performed around Australia post-war and adapted to film in 1931. He was asked to pose for photographer Jack Cato for the iconic image of a digger shown in 01400. He was born George Patrick Hanna, 18 March 1888 in Whitianga, New Zealand and served in the First World War, was a founding member of Melbourne Legacy and was involved with Legacy for many years. Pat Hanna was a founding member of Melbourne Legacy and an artist and producer. Legacy kept some of his works in the archive.Drawing of a kangaroo and kiwi from Pat Hanna on his letterhead pasted onto brown cardboard. Also a digger's face, a rising run and maps of Australia and New Zealand.Handwritten in the drawing 'Heres to every cobber who wore the old chapeau, 20 - 30 - 40 - 50 years ago!!!' and 'There's a wee toon on the Yarra with streets broad and narra that's where we first toasted dear old Legacy.'hanna, founding legatee