Lamp vehicle electric with lens, reflector and supporting rod. Rubber seal partly broken seals in glass. Metal plate on top of light. "Gisborne's Birmingham" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Thornton-Pickard was a British camera manufacturer which was established in 1888 and closed in 1939. The company was based in Altrincham, near Manchester, and was an early pioneer in the development of the camera industry. The Thornton-Pickard company was founded by John Edward Thornton and Edgar Pickard in Manchester,. Also referred to as a Magic Lantern Projector, the Ruby enlarger was used to project images from glass negatives using a variety of light sources and eventually adapted for electricity.. As photography technology developed the size of slides became smaller and the "magic lanterns" were replaced by more compact film and slide projectors.This item is significant as it represents a step in the development of photographic technology and home entertainment in the early 19th century.A large photographic enlarger made primarily of wood, tin plate and glass. The enlarger is fully intact and has the original patent and registration on a badge attached on one side. The enlarger extends when in use but folds up accordion style when not required. Its length at maximum extension is 90 centimetres. It has a slot on one side for glass negatives negatives to be inserted in a wooden holder.Badge attached to side:- 'THORNTON-PACKARD/ RUBY ENLARGER/ ALTRINCHAM" On metal rectangle: "PROTECTED BY / PAT. No. 18478. 08. / REG. No8. 529944 & 580047."thornton-pickard, photographic equipment, ruby enlarger, glass negatives

Image taken in c.1900 of Albert Road, Beechworth, showing surrounding landscape. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, 1900s, landscape, streetscape, albert road

This image of a man is possible an early version of the modern photographic technique the 'selfie'. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome

Although probably built some time earlier, the first mention in the Rate Books of the property later known as 'Wimba Lodge' appears in the entry for 1870 when the property, owned by John Sharpe Denbigh, a civil servant, was given an N.A.V. of £72. Denbigh did however occupy a house in Cotham Road in 1863, and it is possible that was the same premises'. The house was occupied by Sharp until at least May 1876 when the 'family residence ... was auctioned' to Carlington George Edmund Marston, a chemist of Smith Street, Collingwood. At the time of the auction the house was described thus: The residence and grounds of the late J.S. Dendigh, situate in the most elevated part of Cotham Road Kew. The grounds comprise an area of 4a Or 29p or thereabouts, and have a frontage to Cotham-road of 4 chains. The house has two large rooms in front, with 6ft hall built of brick, bay and side windows (plate glass), four rooms of wood behind with slate roofs, bathroom and closets, detached kitchen and servant's room, large shed with washing boiler, pantry and cellar under, brick and cement tank, and the Yan Yean laid onto house and grounds, cowshed, pigstye, &c, the whole securely fenced. First class orchard and flower garden. The paddocks laid with English grasses and drained... .' (Sanderson P. Kew Conservation Study Vol 2)'Wimba' is a single storeyed rendered house. The front entrance is flanked by two polygonal bay windows, and a verandah with a concave corrugated iron roof returns around three facades, and accentuates the projections of the windows. The solid render parapet is very ornate and tall for the date of construction. It has panels of decoration along it and is surmounted by a number of render urns. (Sanderson P. Kew Conservation Study Vol 2)Reverse: "JOHN COLLINS / 11 Anderson Road / Hawthorn East, 3123 / Film 395 Exposure 15A / Kew / Wimba / Front verandah from east / 7-4-79wimba lodge, 235 cotham road -- kew (vic.), john s denbigh, carlington george edmund marston

George Tibbits, University of Melbourne. Faculty of Architecture, Building and Town & Regional PlanningIndex system that support the research for Beechworth : historical reconstruction / [by] George Tibbits ... [et al]Arranged by street names of BeechworthEach index card includes: street name and number of property, image of property, allotment and section number, property owners and dates of ownership, description of the property according to rate records, property floor plan with dimensions.beechworth, george tibbitsbeechworth, george tibbits

Ray Simpson VC, DCM. Refer 630 for his service history, WW2, Korea, Malaya, Vietnam. This portrait came as an extra to a large framed print of Australia’s 96 at the time Victoria Cross winners.Dark brown marbled effect timber frame, with gold inner edge glass, gold metal look name plate glued to glass at lower edge. Coloured print of a water colour painting of soldier RAYENE STEWART SIMPSON in uniform. Black print on gold name plate: SIMPSON Rayene Stewart VC Rank Warrant Officer Class II Unit: Australian Army Training Team: Vietnam Date: 6 and 11 May 1969 Place: Kontum Province, South Vietnam (now the Socialist Republic of Vietnam)portraits, illustrations-watercolour, aattv, vc

A meeting was held on 18th August 1947 at the East Sunshine Community Hall with the aim of forming a motor cycle club. The name BRAYBROOK MOTOR CYCLE CLUB was decided upon "as it would cater for riders and non-riding members in all surrounding districts". The first President was Don Minahan with Bert Watson as Secretary. They had been members of the Auto Cycle Union whose members became dissatisfied with the prize money awarded, so the Victorian Motorcycle Association (VMCA) was formed. The President of the VMCA (Mr. A. Clarke) attended the meeting on 3rd September 1947 which was held in the Hall behind the Sunshine Theatre. This became the regular meeting place. The new Braybrook Club affiliated with the VMCA joining clubs from Altona, Coburg, Essendon, Newport and Preston. Membership mostly came from recreational motor bike riders looking for more structured competitive riding experience and enjoyment. The club conducted its events on Sunday afternoons and as sport at that time was not permitted on Sundays, they overcame that obstacle by seeking a silver coin donation (pointing out that "two bob" was expected). The events were mainly dirt scrambles over open land which today is known as "off road". The favourite sites were Sunshine's ample open spaces such as Glengala Road and McIntyre Road, as well as Arundell Road (Keilor) and Laverton. For track racing experience the club formed a very basic dirt track on the open land in Glengala Road west of the original Sunshine Golf Club, which was very popular on Sunday afternoons for both riders and spectators. In the early 1950's Motorbike and Sidecar races were also witnessed on some Sundays, on a track near the corner of McIntyre and Furlong Roads, North Sunshine. During 1950 the Braybrook members voted in favour of allowing the Sunshine Club to amalgamate with them and form the BRAYBROOK AND DISTRICT MOTORCYCLE CLUB. The merger took place at the meeting on 10th July 1950 when office bearers were elected. The club disbanded in the mid 1960's due to the massive residential development occurring in the Sunshine district, and so activities were merged with the Newport Club. The above information is mainly compiled from Sunshine Advocate articles published on 29/8/47, 12/9/47, and 30/6/50, and from written details supplied by Mr. J. N. Willaton. Further details or corrections from interested readers are welcome.The Braybrook and District Motorcycle Club has not existed in its own right for several decades. The sticker depicting the club crest serves as a historical reminder that the club was once part of the local recreational scene.Dark blue, silver, and clear plastic sticker on right hand top corner of glass plate that previously was a side window of a car. Sticker has been left on the glass in case removal may damage it. BRAYBROOK AND DISTRICT MOTORCYCLE CLUB.Braybrook and District Motorcycle Clubmotorcycle club, sticker, club sticker, braybrook and district motorcycle club, braybrook

Bendigo followed much the same pattern as Ballarat, and was not ready for an up-to-date studio until 1880 when the Bartlett Bros. (Francis and Henry) who bad conducted a successful business in Melbourne for many years opened a small studio there. It was such a success that they decided to build large modern premises, and Francis made two trips to England and the Continent for the latest ideas. In 1884 Henry died, and to replace him, Francis secured the services of Robert W. Bugg, then employed by Foster & Martin (both pupils of Batchelder's) in Collins Street, Melbourne. In that studio Bugg made some fine portraits of Anthony Trollope during the novelist's long tour of Australia. Francis Bartlett was a keen business man, and Robert Bugg was a great operator and a fine painter. Together, their success was quite outstanding. Fifteen years later Bartlett retired with a fortune, and Bugg took over the studio. Robert William Bugg, one of our leading Painter-Photographers, was born in London in 1853, and came to Melbourne when he was five years old. He became a pupil of Louis Buvelot and, in 1879, a member of the Victorian Academy of Arts. In Bendigo he gave annual exhibitions of his oils and water colours, a number of his exhibitions being officially opened by his friend Alfred Deakin. There are a number of Bugg's Paintings in the Bendigo Art Gallery. All the portraits, landscapes, buildings, and city views illustrated in "Bendigo and Vicinity, 1897", are from photographs taken by Robert Bugg. He was a clever, genial and popular soul, and his influence on the cultural life of his adopted city was considerable. He retired in 1932 and died in his early eighties.Nine Photos of vehicles from Glass Plate Negatives Slides are ex Bartlett Brother Bendigo. The Slides were used for advertising prior to the shows and during intervals; possibly at either of the three picture theatres, the Lyric, the Plaza, or the Princes Theatre. history, bendigo, bartlett brothers bendigo, bendigo theatre advertising

Bendigo followed much the same pattern as Ballarat, and was not ready for an up-to-date studio until 1880 when the Bartlett Bros. (Francis and Henry) who bad conducted a successful business in Melbourne for many years opened a small studio there. It was such a success that they decided to build large modern premises, and Francis made two trips to England and the Continent for the latest ideas. In 1884 Henry died, and to replace him, Francis secured the services of Robert W. Bugg, then employed by Foster & Martin (both pupils of Batchelder's) in Collins Street, Melbourne. In that studio Bugg made some fine portraits of Anthony Trollope during the novelist's long tour of Australia. Francis Bartlett was a keen business man, and Robert Bugg was a great operator and a fine painter. Together, their success was quite outstanding. Fifteen years later Bartlett retired with a fortune, and Bugg took over the studio. Robert William Bugg, one of our leading Painter-Photographers, was born in London in 1853, and came to Melbourne when he was five years old. He became a pupil of Louis Buvelot and, in 1879, a member of the Victorian Academy of Arts. In Bendigo he gave annual exhibitions of his oils and water colours, a number of his exhibitions being officially opened by his friend Alfred Deakin. There are a number of Bugg's Paintings in the Bendigo Art Gallery. All the portraits, landscapes, buildings, and city views illustrated in "Bendigo and Vicinity, 1897", are from photographs taken by Robert Bugg. He was a clever, genial and popular soul, and his influence on the cultural life of his adopted city was considerable. He retired in 1932 and died in his early eighties.Seven Photos of vehicles from Glass Plate Negatives. Slides are ex Bartlett Brother Bendigo, photographers. The Slides were used for advertising prior to the shows and during intervals; possibly at either of the three picture theatres, the Lyric, the Plaza, or the Princess Theatre. history, bendigo, bartlett brothers bendigo, bendigo theatre advertising

Mens travel set in black case, contains 2 brushes, mirror, silver plate box and 3 glass jars of various sizes with silver plate screw tops.personal effects, travel goods, mens set

ESCo 17 at the time of the tramway opening, photographed at the depot entry with a driver, conductor and another employee in uniform standing along side. Has a destination sign of Sturt St on the front dash panel of the tram, shows the seating arrangements, uniforms and step arrangements. See also Reg Item 3578, 5104, 8700 for other copies of this image and 9466 for a glass plate negative.Yields information about the ESCo tramcars and uniforms at the time of opening of the tramway in 1906.Black and white print mounted onto a black cardboard back On rear: white label "1" in red ink, "Photo page 43 23 reduced to 5.5" and 3.875" and William F Scott address label.trams, tramways, esco, depot, uniforms, crews, tram 17

Mr Ernie Fitzgerald of Tarrawingee, traveled to Wangaratta, a distance of 14 Kilometres on Market days for his provisions. He was pulled along by his one of two dogs attached to a hand held leather strap (recounted by a witness who remembers Mr Fitzgerald's weekly visit to Wangaratta for supplies at The CoStore). This vehicle remains in possession of his family. This was an unique mode of transport in the 1930's, the witness was a child at the time and remembers Mr Fitzgerald and his dogs and the cart quite clearly. This is a unique mode of transport for the area, is documented and still in existence. WHS Inc were presented with 10,000 glass plate negative from Thelma & Vine Photographic Studios Murphy Street Wangaratta from the 1860's - 1950's. An example of a glass plate negative is featured above of Mr Ernie Fitzgerald of Tarrawingee who traveled to Wangaratta, a distance of 14 Kilometres on Market days for his provisions. He was pulled along by his one of two dogs attached to a hand held leather strap. (Recounted by a witness who remembers Mr Fitzgerald's weekly visit to Wangaratta for supplies). This vehicle remains in possession of his family. Unknownthree wheel steerable chair

The sanctuary lamp 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 lamp was donated by Miss C. Roberts to St Nicholas Seamen's Church, Williamstown, as a memorial to Edward Roberts, who passed away on August 7th, 1905, as stated on the plaque. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen was an Anglican charity that served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centres 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 orgainsation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in 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 lamp is socially significant as a lasting memorial to Edward Roberts. It is also significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The lamp is historically significant for its connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. The connection of this lamp to the Mission to Seamen highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. Sanctuary Lamp, brass six-sided lamp supported by three chains to a main disc, with single chain above. Ring on base. Ruby glass bowl on top. Inscribed glass plates on sides. Lamp bowl is lit by electric lamp. Made in England.Marked on plates "In Loving Memory of Edward Roberts who passed away 7 August 1905 Nearer My God To Thee"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, 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, missions to seamen victoria, mission to seafarers, flying angel’s club, st nicholas seamen’s church williamstown, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, sanctuary lamp, electric lamp, church lighting, pendant lamp, edward roberts, memorial plaque, 7-08-1905, c. roberts

This image showing a man sitting on a bench seat reveals what life was like in the Edwardian era through the clothing and hairstyle worn by the seated man. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, edwardian era, portrait

This image was taken c.1900 and shows one of the offices upstairs in the Beechworth Town Hall. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, office, town hall, beechworth town hall, 1900s

A hand-painted slide from c.1900 depicting a circular image of 11 goldfish swimming around the words 'Good Night'. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into early photographic and film-making technology in use in regional Victoria during the late 1800s and early 1900s.Thin translucent sheet of glass with a circular image printed on the front and hand-painted in shades of orange, red, blue, and green.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, fish, hand-painted, good night, 1900s

The Weekly Times was first published on September 11, 1869, by a group of Melbourne businessmen who owned the now-defunct Daily Telegraph, with the stated aim to be a “journal of literature, sport, agriculture, science and politics”. A series of special editions and special prints were produced for the 125th anniversary.These photographs are a useful reference tool.A set of six heritage posters from 125 Years of The weekly Times. They are dated Sept. 13 1994. The photographs have been colour tinted from glass negative plates.weekly-times photographs sassafras

Carte-de-visite is a small black and white photograph stuck to a card. It was invented by French photographer Andre Disderi in 1854 as a method for producing multiple images on a single glass plate, a format for mounting the resulting images on cards. The card on which the photograph was mounted displayed the name of the photographer on the front and back. The back was often a showy piece of lithographic printing with the photographer's name decorated with culicues.Sepia toned photograph on cardboard showing Dan Kelly sitting "Burman Photo 200 Bourke St East & St Georges Hall (under photograph), "From Burman's Photographic Rooms 209 Bourke Street, East Near Parliament Houses. st Georges Hall Next to Theatre Royal Melbourne. Portraits Enlarged, Copied or Colored. Views taken in any part of Victoria. Copies of this can be had at any time" (on rear), "Dan Kelly" (on rear along left side in black ink), "204" (written in pencil at top left corner)dan kelly, kelly gang, ned kelly, carte-de-visite, burman

Carte-de-visite is a small black and white photograph stuck to a card. It was invented by French photographer Andre Disderi in 1854 as a method for producing multiple images on a single glass plate, a format for mounting the resulting images on cards. The card on which the photograph was mounted displayed the name of the photographer on the front and back. The back was often a showy piece of lithographic printing with the photographer's name decorated with culicues.Sepia toned photograph on card showing Dan Kelly with left arm resting on a pillar."Burman Photo 200 Bourke St - East & St Georges Hall" (under photograph). "From Burman's Photographic Rooms 209 Bourke Street. East Near parliament Houses. St Georges Hall Next to Theatre Royal Melbourne. Portraits Enlarged, Copied or Colored. Views taken in any part of Victoria. Copies of this can be had at any time: (on rear) "Dan Kelly" (handwritten in ink underneath image on front of card)dan kelly, kelly gang, ned kelly, carte-de-visite, burman