A sealed plastic container of four Major 'Roland Garros French Open' tennis balls. Intact metal ring-pull lid and plastic reclosure cap. Materials: Metal, Ink, Plastic, Synthetic material, Rubbertennis

A sealed plastic container of four D.F.S.A. 'Roland Garros French Open' tennis balls. Intact metal ring-pull lid and plastic reclosure cap. Entire container shrink wrapped in printed plastic. Materials: Metal, Ink, Plastic, Synthetic material, Rubbertennis

A sealed plastic container of four Major 'Roland Garros French Open' tennis balls. Intact metal ring-pull lid and plastic reclosure cap. Materials: Metal, Ink, Plastic, Synthetic material, Rubbertennis

A Wilson '3' US Open tennis ball. Ball was used during Fan Appreciation Day, at Arthur Ashe Stadium, Flushing Meadows Park, during the 1997 U.S. Open. Materials: Felt, Rubber, Inktennis

A Wilson 'US Open 2' tennis ball. Autographed in black marker by Andre Agassi. Materials: Felt, Rubber, Inktennis

A Wilson 'US Open 2' tennis ball. Autographed in black marker by Andre Agassi. Materials: Felt, Rubber, Inktennis

A Penn 'Classic 1' tennis ball. Autographed in black marker by Martina Hingis, possibly during the New South Wales Open, at White City Stadium, Sydney, in 1999. Materials: Felt, Rubber, Inktennis

A Wilson 'US Open 3' tennis ball. Autographed with black biro by Margaret duPont. Handwritten inscription on accompanying card: ALL BEST WISHES/MARGARET OSBORNE DUPONT. Materials: Felt, Rubber, Ink, Papertennis

A Wilson 'US Open' '2' tennis ball. Autographed in black marker by Wendy Turnbull. Materials: Felt, Rubber, Inktennis

A Wilson '2' tennis ball, used during a U.S. Open tournament. Materials: Rubber, Felt, Inktennis

ASTA Offical Magazine of the U.S. Open 1976 Materials: Paper, Inktennis

1996 US Open edition of Tennis Championships Magazine Materials: Paper, Inktennis

Page 836 of Harper's Weekly (1892), featuring lithographic bust portraits of the top four players, and a photograph of the action at Newport Casino during, the 1892 U.S. Open. Materials: Paper, Inktennis

Pages 823-824 of Harper's Weekly (Vol. 43, No. 2226), featuring a report by Caspar Whitney about the upcoming 1899 U.S. Open, and other tennis tournaments. Materials: Paper, Inktennis

The Victorian-era mansion Madford in Wellington Street had several incarnations before it was finally demolished. While the precise details of its original construction have not been discovered, we know that it was originally named Elm Lodge, and that the property was offered for sale in 1863 by Thomas Mitchell, of the firm Mitchell & Bonneau, wholesale ironmongers and merchants. The house was sold in about 1873 to William Siddeley (1827-1905), who was described on the occasion of his death as ‘the father of Australian shipping’. The next owner was Arthur Septimus King (1827- 99), who renamed the house Madford after his purchase of the property in 1875. It was A.S. King for whom this artwork was completed. Following King’s death in 1899, portions of the property were sold, including to the Borough of Kew in 1905, to form the Alexandra Gardens. Then, in 1920, the house and its remaining lands were sold to the Catholic Church who opened St Anthony’s Home for Children on the site in 1922. That building was promptly demolished, and the site redeveloped circa 1976.Gift of James Pearson, 2022This fine perspective drawing of the architectural elements of Madford [formerly Elm Lodge, later St Anthony's Home for Babies] is contrasted with the freer addition in watercolour of the layout and plants of the garden facing Wellington Street. The view selected is the south-facing main facade and the west facing side. After A.S. King purchased the house in 1875, it was extended with new wings at the rear to accommodate his large family. There is no indication of these extensions in the painting so its creation must predate the renovations, and probably depicts the original building on the site."MADFORD / The Property of A. S. KING Esq"elm lodge, madford, st anthony's home for babies, houses -- wellington street -- kew (vic.), thomas mitchell, william siddeley, arthur septimus king

The National Bank of Australasia was formed in 1857. It began commercial operations in Queen Street, Melbourne in 1858. The Bank’s first branch in Kew opened at 87 High Street in 1885. A second building, on the corner of Walpole and Brougham Streets, designed by Inskip & Robertson, replaced the first branch in 1888. The second building remains, albeit in a somewhat altered state. In 1977, the President of the Kew Historical Society received two historic ‘Signature Books’ from the Kew branch of the National Bank of Australia.Press photograph, from the Whitehorse Standard, of the handover of two Signature Books by the manager of the National Bank of Australia, Mr Bendixer, to Marshall Slattery (centre) and Gordon Greer (right) of Kew Historical Society."1977 / PRESIDENT OF KEW HISTORICAL SOCIETY, CENTRE, RECEIVING 2 SIGNATURE BOOKS DONATED TO THE SOCIETY BY THE KEW BRANCH OF THE NATIONAL BANK / CENTRE PRESIDENT KHS MR SLATTERY, ON HIS LEFT MR BENDIXER MANAGER, RIGHT MR G GREER MEMBER KHSnational bank of australasia, national bank of australia, bank signature books -- kew (vic.)

The National Bank of Australasia was formed in 1857. It began commercial operations in Queen Street, Melbourne in 1858. The Bank’s first branch in Kew opened at 87 High Street in 1885. A second building, on the corner of Walpole and Brougham Streets, designed by Inskip & Robertson, replaced the first branch in 1888. The second building remains, albeit in a somewhat altered state. In 1977, the President of the Kew Historical Society received two historic ‘Signature Books’ from the Kew branch of the National Bank of Australia.Important and unique record of names, occupations, addresses and signatures of customers of the branch. A number of signatures belong to individuals of statewide significance. Other information such as customer occupations may be unique.Ledger containing information about customers of the National Bank of Australasia's Kew Branch for the years 1884-1894. The ledger (L8091) was purchased on 29/5/84 from Sands & McDougall, Manufacturing Stationers, 46&48 Collins Street West, Melbourne. The pages of the ledger have printed columns including: No. | Date | Name and Description (to be clearly written off by a member of the bank) | Signature | Initials of Bank Officer. As used, the pages are organised alphabetically by customer name. On each page, sequential numbering extends across the years 1884-1894. Additional pieces of advice from customers are clipped through the page over the customer's signature. Spine - "SIGNATURE BOOK" Inside front cover: Stationers labelnational bank of australasia -- kew (vic.), signature books, banks -- kew (vic.), gordon greer, mr bendixon, marshall slattery, manuscripts, financial records, bank records, national bank of australia

The National Bank of Australasia was formed in 1857. It began commercial operations in Queen Street, Melbourne in 1858. The Bank’s first branch in Kew opened at 87 High Street in 1885. A second building, on the corner of Walpole and Brougham Streets, designed by Inskip & Robertson, replaced the first branch in 1888. The second building remains, albeit in a somewhat altered state. In 1977, the President of the Kew Historical Society received two historic ‘Signature Books’ from the Kew branch of the National Bank of Australia.Important and unique record of names, occupations, addresses and signatures of customers of the branch. A number of signatures belong to individuals of statewide significance. Other information such as customer occupations may be unique.Ledger containing information about customers of the National Bank of Australasia's Kew Branch for the years 1894-1922. The ledger (N9457) was purchased on 9/12/85 from Sands & McDougall, Manufacturing Stationers, 46&48 Collins Street West, Melbourne. The front pages of the ledger have lines and lists of names and customer numbers. Subsequent sections are organised alphabetically by customer name. Columns on these pages include data arranged by: No. | Date | Name and Description (to be clearly written off by a member of the bank) | Signature | Initials of Bank Officer. On each page, sequential numbering extends across the years 1894-1922. Additional pieces of advice from customers are clipped through the page over the customer's signature. Spine - "SIGNATURE BOOK / N.B.OF A." Inside front cover: Stationers labelnational bank of australasia -- kew (vic.), signature books, banks -- kew (vic.), gordon greer, mr bendixon, marshall slattery, manuscripts, financial records, bank records, national bank of australia

The Southern Cross Hotel on the corner of Bourke and Exhibition Streets was opened in 1962. It was built on the footprint of the Eastern Market. The hotel was closed in 1995 and demolished in 2003. Ernest 'Nitz' Dorn was a photographer at the hotel with his own studio in the building. Customised packet of Southern Cross Hotel matches faced with a photograph of a woman on the front.Southern Cross Hotel Melbourne, Australia / Photography by Ernest Dorn / 63 8930matches, ernest dorn, southern cross hotel

Kew tram depot is located on the corner of Barkers Road and High Street, Kew, a suburb of Melbourne, Australia. Operated by Yarra Trams, it is one of eight tram depots on the Melbourne tram network. The depot opened on 8 May 1915.Commemorative medallion in blue presentation box, given to the Kew Historical Society on the anniversary of the Kew Depot in 2015.Front: Schematic engraving of tram with the words "Kew Tram Depot : 1915-2015 : Celebrating 100 Years". Reverse: Schematic engraving of exterior of Depot, surrounded by the words "Commemorating all staff who have contributed to the success of Kew Depot".kew tram depot, commemorative medallions, tramways memorabilia

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen Silver Photograph, mounted on Board. printed in ink on support l.c.: JUNCTION OF THE RIVER WATT AND CONTENTMENT CREEK. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 1. / JUNCTION OF THE RIVER WATT AND CONTENTMENT CREEK. / This scene is situated about two miles to the westward of Fernshawe, a small but extremely romantic township. / The river, at this juncture, is crossed by a fallen tree, as may be seen in the illustration. The track which is seen on / the opposite side of the river leads to the summit of Mt. Munda (3,500 feet high), 4 miles distant, from which place / visitors can see the Australian Alps, in all their mighty grandeur, stretching for hundreds of miles on either side, / and, as far as the eye can reach, impressing a beholder with the appropriateness of their title, being that of the Great Dividing Range. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire, views of victoria - general series, landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen Silver Photograph, mounted on Board.printed in ink on support l.c.: CENTRAL AVENUE, FITZROY GARDENS / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 2. / CENTRAL AVENUE, FITZROY GARDENS. / The Fitzroy Gardens have, for several years past, become one of the most popular places for public resort- / attributable, no doubt, to the great variety of picturesque scenes they contain. Shrubs and flower plants, of almost / every description, can be seen growing in rich profusion within the enclosures, studded here and there with choice / pieces of statuary. The subject of the present illustration is but one of the many to be found within their precincts. / The distance of these gardens from the Melbourne Post Office is about one mile. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen Silver Photograph, mounted on Board.printed in ink on support l.c.: JUNCTION OF THE RIVERS YARRA AND WATT, NEAR HEALESVILLE. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 3. / JUNCTION OF THE RIVERS YARRA AND WATT, NEAR HEALESVILLE / The junction is situated about 3 miles from Healesville, and 35 miles from the mouth of the Yarra. The souces / of the Watt are to be found at the head of the Black Spur, and, being fed by a number of creeks and springs, its / waters gain considerable force for several miles before joining those of the Yarra. The "Old Bridge," at the junction, / is the name given to this crossing-place, which has been partly swept away by late floods. The depth of the Yarra here / is from 15 to 20 feet; that of the Watt, about 10 feet. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), yarra river, watt river, bridge, wooden bridge, healesville

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/caire-nicholas-john-3139/text3683, published first in hardcopy 1969, accessed online 1 July 2016.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen Silver Photograph, mounted on Board.printed in ink on support l.c.: VIEW OF PORTION OF THE CITY OF SANDHURST, AS SEEN FROM THE HILL, CAMP RESERVE / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 4. / VIEW OF PORTION OF THE CITY OF SANDHURST AS SEEN FROM THE HILL, CAMP RESERVE. / The Camp Reserve is the principal public promenade in this City. The Rotunda in the foreground, formerly used / by the local bands on festive occasions, is now regarded as a relic of the past. To the right of the picture is shown the / City of Sandhurst claim, supposed to be on the Hustler's line of reef. St. Paul's Church tower may be seen in the / distance. To the left of the picture Williamstown-street branches out from Pall Mall. On one side of the street is the / far-famed Shamrock Hotel; on the other stands the Bank of Australasia, with St. James's Hall immediately behind it. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen Silver Photograph mounted on boardprinted in ink on support l.c.: STATE SCHOOL, FERNSHAWE. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 5. / STATE SCHOOL, FERNSHAWE. / This educational institution occupies one of the most romantic situations of any of the State Schools in Victoria. / On either side of it runs a river and a creek, whilst immediately surrounding it are a great many large fern trees. / The background comprises many giants of the forest. In the centre of the picture stands a stump, about 60 feet / high, which has evidently been struck by lightning. The neighbourhood, not being a very populous one, furnishes / but 30 children for educational training. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen Silver Photograph on Boardprinted in ink on support l.c.: VIEW OF THE "HANGING ROCK," NEAR MOUNT MACEDON. / COPYRIGHT REGISTERED. printed in ink (vertically) on support reverse u.c.l.: J.W. FORBES, Agent, printed in ink (vertically) on support reverse c.l.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink (vertically) on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 6. / VIEW OF THE "HANGING ROCK," NEAR MOUNT MACEDON. / The Hanging Rock is situated about 5 miles in a north-easterly direction from the Railway Station at Woodend, / and is a very picturesque spot. Its formation is singularly peculiar, consisting of gigantic masses of basaltic rock / thrown up on end in a projecting or hanging position. Our illustration represents but a portion of the Rock, as it / is not possible to obtain a view of the whole of it in one picture. The height of these large boulders of rock vary / from 150 to 200 feet. printed in ink (vertically) on support reverse l.c.l.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.albumen silver photograph on boardprinted in ink on support l.c.: VIEW ON THE RIVER MURRAY, NEAR ECHUCA, SHOWING THE RAILWAY WHARF WITH STEAMERS UNLOADING. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 7. / VIEW ON THE RIVER MURRAY, NEAR ECHUCA, SHOWING THE RAILWAY WHARF WITH STEAMERS UNLOADING. / The rapidly increasing traffic on the River Murray, with wool, timber, and other colonial produce, has called / into requisition no less than 400 steamers and over 1000 barges. To meet this growing emergency the Victorian / Government has expended several thousand pounds in the erection of a Railway Wharf which during the wool- / season presents a very busy scene, the crowded steamers laden with precious clip taxing to the utmost the / powers of the Railway Department in the process of unloading. The River here is about a quarter of a mile wide, / and is from 60 to 70 feet deep. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography, river murray, echuca