Showing 23 items matching " fisher brother"
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Glen Eira Historical SocietyDocument - CHURCH OF CHRIST, NORTH ROAD AND ARNOTT STREET, ORMOND
... ... Fisher Brother...Bevan Sister Brown Brother Fisher Brother Faragher L. Streader D. McDonald I. ...This file contains 3 items: 1/A program for the 50th anniversary of Ormond Church of Christ dated 29/06/1975. 2/A Diamond Jubilee book for Ormond Church of Christ dated 23/06/1985. 3/A 75 years of witness book of Ormond Community Church of Christ from 1925-2000. It chronicles the church’s activities and progress by year.ormond, ormond church of christ, henrichsen e.c., hutchings brother, hutchings sister, lyall r., pratt c., lintott brother, lumley brother, ring brother, tuck brother, blair sister, olliver sister, ring sister, tuck sister, goddard elsie, hanaker sister, bowen-jones sister, kershaw brother, kershaw sister, merrin r. brother, moore sister, mcclelland i. brother, mcclelland i. sister, nesbit brother, oliver brother, oliver sister, oliver p. sister, paynter j. sister, ring sister, ring minnie, ring reynold, ring robbie, richards sister, small sister, smedley sister, scott brother, scott sister, taylor sister, telfer brother, telfer sister, theyer mrs., theyer miss., yewdall v., yewdall f., linttot mrs., lumley mr., ring mr., tuck mr., blair mrs., oliver mrs., ring mrs., tuck mrs., yewdall mrs., mcclelland mr., yewdall mr., thomson w.j., kershaw mr., taylor mr., mcclelland mrs., oliver mr., pioneers, ring mrs., veal mrs., oliver mrs., smail mrs., brown mrs., yates mrs., lumley mrs., knight mrs., hannaker mrs., hooper miss, merrin mrs., tuck mrs., smith mrs., henry mrs., bartlett mrs., johnson mrs., vautier mrs., mulroney mrs., bethany nursery school, murrumbeena, oakleigh, ward clive, henry edna, weaver edna, moorabbin hospital, north road, bambra road, mckenzie r., cole g., ghys p., jacques b., kay d., knee b., streader c., kilgour p., stibbe g.o., cannon p.r., hunt a., stibbe b., crittle w., yewdall sister, yewdall brother, mcclelland brother, thomson w.j. brother, taylor brother, brown sister, bartlett sister, hannaker sister, henry sister, hooper sister, johnson sister, knight sister, lumley sister, merrin sister, mclelland sister, smail sister, smith sister, theyer sister, meyer sister, veal sister, yates sister, clay w.h., clay l., withers a.b., baker s.r., andrews g.j., mcnaughton k.a., lang c.l., mcdowell w.w., martin j.k., vautier r.w., buckingham f.e., mansell d.w., randall e.h., garros n., mckenzie r.c., barker l.f., mathieson g.w., clayden c.p., cole brother, keneley brother, knee brother, alabaster brother, hood brother, hunt brother, kay brother, kilgour brother, manson brother, parker brother, towns brother, canns sister, houzego sister, grant sister, keneley sister, knee sister, mulroney sister, mcmillan sister, streader sister, young sister, hunt sister, whittaker brother, ennor sister, manson sister, ryall brother, alabaster j., beazley f., whittaker b., flanders g., north l., skews n., cole p., knee i., beazley bev., bradley n.w., cole d., keneley r., alabaster r., hood h., kay j., knee a.j., wannan john, wannan jennifer, arnott street, walsh street, hutchings mr., hutchings mrs., andrews sister, burton may, briggs b., bevan sister, brown brother, fisher brother, faragher l., streader d., mcdonald i., mcmillan d., cannon p., cannon h., mcquatter s., mcqualter s., kwong d., wittick r., mcdonald a., w.a. o’donnell pty ltd., williams louis r., henrichsen e.c., mayor of caulfield, shaw h.h., shaw w.g., drayton r., killmier e.r., stibbe glen, stibbe betty, stibbe ian, stibbe michelle, nicholls road, cannon peter, cannon helen, randall e.r., westwood j., langford f., white a.e., williams e.l., jones a.r., gray m., heath b., mullen i., van lean a., holt r., stevens d., fechner k., leake k., tippet i., tunks b., wilson d., bannon g., alabaster r.l., bishop j., faragher m., hunt l., reeves o., swankie m., cann b., ennor e., roper j., nash n., ryall d., kappa sigma pi, phi beta pi, clubs and associations, bethany close, webb j.e., lang c.l., skewes home, claire street, mckinnon, bethany nursing school, bentleigh east, j. bond and timms mission, thorpe jack, ormond station, ormond railway station, avery allan, aurelia, langford frank, drayton r., moorabbin town hall, hunt lindsay, whittaker john, deuble greg, gauson bill, beavis colin, pell norman, mansell david, niven alan, ormond road, ormond community church of christ, risson anthony, risson bronwyn, avery allan, avery liliane, cannon p.r., adamson m., bainbridge b., larkham j., moore j., bauer p., longmuir p., dodd m., uldrich m., thistlewaite a., english c., avery a., risson a., westwood t., langford f., white a.e., williams e.l., jones a.r., gray m., heath b., mullen i., van lean a., holt r., stevens d., fechner k., leake k., tippet i., tunks b., wilson d., bannon g., religious structures and establishments, religious groups, church groups, congregations (religious), monuments and memorials, clergy, baptisms, funerals, choirs, church festivals, rites and ceremonies, festivals and celebrations, paralysis epidemic, organs, manses -
Stawell Historical Society IncPhotograph, Bests family at Residence, Great Western, early 1900's
... Charles and Fanny Best with her brother W.J. Fisher who lost a leg in WW1...Charles and Fanny Best with her brother W.J. Fisher who lost a leg in WW1 Bests family at Residence, Great Western Photograph ...Digital Photo taken from glass slide by Geoff McMillan, Cooper Street Stawell and reproduced as a photo - printed at Stawell Historical Society 2019Black & White Photo taken at Bests Residence at their vineyard, Great Western. Charles and Fanny Best with her brother W.J. Fisher who lost a leg in WW1ww1 -
Mission to Seafarers VictoriaPhotograph, Maxim - Studio of Photography, 20 April 1954
... Best man was Rodney Oliver, Beverley's brother, David Fisher and Reverend W.R Dowel were groomsmen. ...Best man was Rodney Oliver, Beverley's brother, David Fisher and Reverend W.R Dowel were groomsmen. ...Beverley, daughter of Padre Oliver, married Robin Kent on Tuesday 20 April 1954. The ceremony was held in the St Peter Chapel. The Bridesmaids were Rachel Dowel, Dorothy (Dot) Veitch and Ailsa Halliday. Best man was Rodney Oliver, Beverley's brother, David Fisher and Reverend W.R Dowel were groomsmen. The reception was held at Berkeley Hall, St Kilda.Written in blue ink: names of the persons on photo Stamp of photography studiobeverley kent nee oliver, robin kent, st peter chapel, weddings, marriages, rachel dowel, dorothy veitch, ailsa hallliday, john rodney oliver (1931-2010), david fisher, berkeley hall, st kilda -
Federation University Historical CollectionPhotograph - Photograph - Little Gem tintype, Possibly American Studio, Portrait of a child
... Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) ...Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) little gem child hat A tintype portrait of a child, attached to a card. ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a child, attached to a card. little gem, child, hat -
Federation University Historical CollectionPhotograph - Photograph - Little Gem tintype, American Studio, Portrait of a Woman
... Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) ...Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) ballarat american studio little gem allen gove tintype woman unidentified woman photography Printed on the lower edge of the card "Allen & Gove, American Studion, 6 Sturt St, Ballarat" A tintype portrait of a woman's head, attached to a card. ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card. Printed on the lower edge of the card "Allen & Gove, American Studion, 6 Sturt St, Ballarat"ballarat, american studio, little gem, allen gove, tintype, woman, unidentified woman, photography -
Federation University Historical CollectionPhotograph - Little Gem tintype, Portrait of a Woman in a Hat
... Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) ...Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) little gem woman unidentified woman women photography A tintype portrait of a woman's head and shoulders, attached to a card. ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head and shoulders, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography -
Federation University Historical CollectionPhotograph - Little Gem tintype, American Studio, Portrait of a Woman, (exact)
... Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) ...Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) tintype american studio woman unidentified woman women photograph Printed lower left hand side of the card "American Studio, 324 Geo. ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card.Printed lower left hand side of the card "American Studio, 324 Geo. St."tintype, american studio, woman, unidentified woman, women, photograph -
Federation University Historical CollectionPhotograph - Tintype, Portrait of two young girls
... Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) ...Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) little gem women children photography tintype .2) A tintype portrait of two girls heads, attached to a card. ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .2) A tintype portrait of two girls heads, attached to a card. The girls are wearing a cloak with a large bow at the frontlittle gem, women, children, photography, tintype -
Federation University Historical CollectionPhotograph - Photo - Little Gem tintype, Possibly American Studio, Portrait of a child
... Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) ...Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) little gem photography child portrait .5) A tintype portrait of a child, attached to a card. ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .5) A tintype portrait of a child, attached to a card. little gem, photography, child, portrait -
Federation University Historical CollectionPhotograph - Little Gem tintype, Portrait of a Man
... Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) ...Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) little gem tintype man unidentified man .4) A tintype portrait of a man, attached to a card. ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .4) A tintype portrait of a man, attached to a card. little gem, tintype, man, unidentified man -
Federation University Historical CollectionPhotograph - Little Gem tintype, Portrait of a Woman in a hat
... Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) ...Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) little gem woman unidentified woman women photography .9) A tintype portrait of a woman's head, attached to a card. ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a woman's head, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography -
Federation University Historical CollectionPhotograph - Little Gem tintype, Possibly American Studio, Portrait of a Boy
... Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) ...Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) little gem .9) A tintype portrait of a child's head and torso, attached to a card. ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a child's head and torso, attached to a card. The boy is wearing a suit and the cheeks have been hand coloured.little gem -
Federation University Historical Collection
Album, Prime Minister's Office et al, Folder with letters and envelopes addressed to Henry Sutton regarding minerals for wireless transmission, 1911
... brothers that ran the Sutton's Music Store after the death of their Father Richard Sutton. Henry Sutton taught Applied Electricity at the Ballarat School of Mines in 1883 to 1886. Minerals Wireless transmission Commonwealth of Australia Henry Sutton Prime Minister Argus Post Master General Justinian Oxenham W. Forster Woods Charles E. Bright Hon. Andrew Fisher ...Henry Sutton is a talented world-wide accepted inventor with inventions relating to the telephone, photography, wireless, cars, motorcycles, and bicycles as well as many more inventions. Henry was also one of four brothers that ran the Sutton's Music Store after the death of their Father Richard Sutton. Henry Sutton taught Applied Electricity at the Ballarat School of Mines in 1883 to 1886.Folder containing typed letters and handwritten envelopes addressed to Henry Sutton regarding minerals for wireless transmission.Postage stamps minerals, wireless transmission, commonwealth of australia, henry sutton, prime minister, argus, post master general, justinian oxenham, w. forster woods, charles e. bright, hon. andrew fisher, malcolm shepherd, letterhead, peter g. tait -
Bendigo Historical Society Inc.
Document - TOWN HALL, THE BENDIGO CHORAL SOCIETY, 24 Apr 1928 - 27 Nov 1928
... Brothers. Picture of W C Frazier is on cover. c/ The Bendigo Choral Society. Season 1928. Third Concert. 40th Grand Concert. Town Hall Bendigo Tuesday November 27th 1928. Conductor: Artists: Gwen Prockter Lotte Daniell A E Sayer Eileen Hains ATCL Joyce Connell LTCL. Programme: Rest Sweet Nymph Fine Knacks for Ladies Adagio Allegro The Maiden's Complaint I've Been Roaming Down in a Valley Flora Gave Me Fairest Flowers Gipsy Dance Songs of Love Elegie Songs of Love Moonlight The Nut-Tree Songs of Love Traumerei Zigeunertanz Nymphs and Fauns Romance Budmouth Dears Bonny Fisher Lad Rolling Down to Rio. ...Town Hall, The Bendigo Choral Society. 3 Programs for 1928: First Concert, Second Concert & Third Concert. a/ First Concert 38th Grand Concert, Town Hall, Bendigo. Tue. April 24th, 1928. Conductor MR W C Frazier ARCO. Artists: Miss A Caddell, Mr L Bienvenu. Pianiste: Miss Eileen Hains, ATCL. Hon. Sec. E H Collett. Asst. Sec. W F Mansell. Other Artists from BCS; Miss Essa McSwiney, Miss Jean Thompson, Miss May McGauchie, Hector Taylor. Programme: Price 3d. Programme: In These Delightful Pleasant Groves, Like To A Damask Rose, When The King Went Forth To War, Lament Of Isis, Tell I Tell Me, The Princess, Autumn's Storms, Prelude (The Cycle of Life), How Fair is Thy Face, God's Son Hath Set Me Free, Jesus Christ Our Lord Is Risen, I Heav'n Above, King Arthur. b/ The Bendigo Choral Society, Season 1928. Second Concert. 39th Grand Concert. Town Hall, Bendigo. Wednesday, Sep. 19th 1928. Conductor: Mr W C Frazier ARCO. Sub-Conductor: Mr E A Miller. Artists: Coral Trenerry, Muriel Bolt, Leslie Jephcott, Eileen Hains, Bendigo Choral Society. Hon. Sec. E H Collett. Asst. Hon. Sec. W F Mansell. Programme: The Hexhamshire Lass, Prelude and Allegro, M'Appari Tutt 'Amor', Rhapsody, Sweet Stay Awhile, There is a Lady Sweet and Kind, Danse Negre, Study, Merry Andrew, Gracious and Kind Art Thou My Queen, Secrecy, Sweet Honey-Sucking Bees, Mazurka, Sigh No More, Faery Song, Fantasie, Courage Brothers. Picture of W C Frazier is on cover. c/ The Bendigo Choral Society. Season 1928. Third Concert. 40th Grand Concert. Town Hall, Bendigo, Tuesday, November 27th, 1928. Conductor: Mr W C Frazier. Artists: Gwen Prockter, Lotte Daniell, A E Sayer, Eileen Hains ATCL, Joyce Connell LTCL. Hon. Se. E H Collett, Asst. Hon. Sec. W F Mansell. Programme 3d.Programme: Rest Sweet Nymph, Fine Knacks for Ladies, Adagio, Allegro, The Maiden's Complaint, I've Been Roaming, Down in a Valley, Flora Gave Me Fairest Flowers, Gipsy Dance, Songs of Love, Elegie, Songs of Love, Moonlight, The Nut-Tree, Songs of Love, Traumerei, Zigeunertanz, Nymphs and Fauns, Romance, Budmouth Dears, Bonny Fisher Lad, Rolling Down to Rio.Boltons Print, Bendigoprogram, music, the bendigo choral society, town hall, bendigo, the bendigo choral society. 3 programs for 1928 a/ first concert 38th grand concert. tue. april 24th, 1928. conductor mr w c frazier arco. artists: miss a caddell, mr l bienvenu. pianiste: miss eileen hains, atcl. hon. sec. e h collett. asst. sec. w f mansell. other artists from bcs; miss essa mcswiney, miss jean thompson, miss may mcgauchie, hector taylor. programme: in these delightful pleasant groves, like to a damask rose, when the king went forth to war, lament of isis, tell i tell me, the princess, autumn's storms, prelude (the cycle of life), how fair is thy face, god's son hath set me free, jesus christ our lord is risen, i heav'n above, king arthur. b/ second concert. 39th grand concert. wednesday, sep. 19th 1928. sub-conductor: mr e a miller. artists: coral trenerry, muriel bolt, leslie jephcott, eileen hains, bendigo choral society. hon. sec. programme: the hexhamshire lass, prelude and allegro, m'appari tutt 'amor', rhapsody, sweet stay awhile, there is a lady sweet and kind, danse negre, study, merry andrew, gracious and kind art thou my queen, secrecy, sweet honey-sucking bees, mazurka, sigh no more, faery song, fantasie, courage brothers. picture of w c frazier is on cover. c/ the bendigo choral society. season 1928. third concert. 40th grand concert. town hall, bendigo, tuesday, november 27th, 1928. conductor: artists: gwen prockter, lotte daniell, a e sayer, eileen hains atcl, joyce connell ltcl. programme: rest sweet nymph, fine knacks for ladies, adagio, allegro, the maiden's complaint, i've been roaming, down in a valley, flora gave me fairest flowers, gipsy dance, songs of love, elegie, songs of love, moonlight, the nut-tree, songs of love, traumerei, zigeunertanz, nymphs and fauns, romance, budmouth dears, bonny fisher lad, rolling down to rio. -
Orbost & District Historical Societyblack and white photograph, first half 20th century
... This engine drove all the bean machinery in the barn" The seed bean industry was a major industry in the Orbost district for the first half of the 20th century. the Fisher Brothers were a significant part of that industry. bean-industry Fisher-beans Snowy-River on back - "Snowy River, Fisher barn on right. ...The seed bean industry was a major industry in the Orbost district for the first half of the 20th century. The total area sown with beans for seed at Orbost was estimated to be about 1000 acres. Fisher Bros, grew or supervised the growing of approximately one quarter of the bean seed produced at Orbost, and, in addition, prepared for market and sold a considerable quantity for other growers. From Newsletter February 2015 : "the Fishers took over the old Butter Factory in Lochiel Street. They had sorting tables there in the 1920s. In Orbost, the Fishers had a Shell fuel depot at the back of the bean factory. The Fishers were very enterprising people, very smart. One of their uncles is supposed to have invented the knot that was used to tie the sheaves of hay in the fields. At their Lochend Barn, they had a Blackstone engine which ran on oil. They used to light a fire under it and hot it up to start it. This engine drove all the bean machinery in the barn" The seed bean industry was a major industry in the Orbost district for the first half of the 20th century. the Fisher Brothers were a significant part of that industry.A black / white photograph tajen from a river bank. On the right behind some trees is a barn. On the left between tres is a small building. Reflections can be seen in the water.on back - "Snowy River, Fisher barn on right. Mary Gilbert"bean-industry fisher-beans snowy-river -
Flagstaff Hill Maritime Museum and VillagePhotograph - Historical, maritime, Brookes' Photographic Union, Harbour Works, Warrnambool, 1891
... Fisher. The photograph is part of the Western Victoria collection produced in 1891 by Brookes' Photographic Union in Victoria. Brookes' Photographic Union was a collaboration of two brothers, Frederick Augustus Brookes and his brother Albert Edward Brookes. ...Fisher. The photograph is part of the Western Victoria collection produced in 1891 by Brookes' Photographic Union in Victoria. Brookes' Photographic Union was a collaboration of two brothers, Frederick Augustus Brookes and his brother Albert Edward Brookes. ...This photograph records the making and placing of the concrete blocks for the construction of the Warrnambool Breakwater in the Warrnambool Harbour, completed in 1890. Each block weighed 20 to 30-plus tons. The huge Titan steam powered crane in the photograph played a massive role in the construction. It was able to lift the concrete blocks with its overhanging, counterbalanced arm and roll on its wheels along the rails to the required position. It then lowered the blocks into position on the concrete foundation already laid on the seabed. There are many details in the photograph that help to tell other aspects of Warrnambool's history. It appears that the photograph was once owned by B. Fisher. The photograph is part of the Western Victoria collection produced in 1891 by Brookes' Photographic Union in Victoria. Brookes' Photographic Union was a collaboration of two brothers, Frederick Augustus Brookes and his brother Albert Edward Brookes. Frederick arrived in Victoria in the early 1880's. He and Albert formed the organisation to produce collections of photographs including the districts of Geelong, Gippsland and the Western Victoria.This photograph was taken during the construction of the Warrnambool Breakwater and published the year after it was completed. The project began with the Government of 1874 approving the plan, and was completed in 1890. The image records a snapshot of the construction of the Warrnambool Breakwater, a construction that changed the history of the Port of Warrnambool, Photograph, sepia coloured rectangular shape, mounted between two sheets of cream card. Border of photograph is decorated with pen lines and design in corners. Subject is the Warrnambool Breakwater construction with the Titan steam crane on rail lines, concrete blocks, a windmill and tanks, sheds, and a multi-storey building in the background. Produced by the Brookes' Photographic Union, Western Victoria. Inscriptions are on the reverse, on two stickers, a printed white label and a handwritten name.Stickers: "137" "F.Pn 61/2-74" Label: "WESTERN VICTORIA / BROOKES' PHOTOGRAPHIC UNION / HARBOUR WORKS, / WARRNAMBOOL." "The subject of this picture is the making of concrete blocks for the Breakwater. These blocks weigh from 20 to 30 tons each, and are lifted about by the large piece of machinery seen in the picture." Hand written: "B. Fisher"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, western district, western victoria, brookes' photographic union, frederick brookes, albert brookes, photograph, warrnambool harbour, harbour works, concrete bolcks, breakwater, warrnambool history, breakwater history, 1891, lady bay, port of warrnambool, b. fisher, titan crane, steam crane, concrete blocks -
Federation University Historical CollectionPhotograph - Little Gem tintype, Portrait of a Woman
... Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) little gem tintype woman unidentified woman women .3) A tintype portrait of a woman, attached to a card. ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .3) A tintype portrait of a woman, attached to a card. little gem, tintype, woman, unidentified woman, women -
Federation University Historical CollectionPhotograph - Little Gem tintype, Portrait of a Man
... Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) little gem .8)A tintype portrait of a man's head, attached to a card. ...The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .8)A tintype portrait of a man's head, attached to a card. The cheeks have been hand coloured.little gem -
National Vietnam Veterans Museum (NVVM)Memorabilia, Newspaper articles about 'A Digger Dies. Includes mention of Graham Lobb, Christopher Clarke and John Brady and an article titled 'Promise a brother kept'
... Fisher D Company Tunnels A Company Digger Major John Healy Brigadier O.D. Jackson 1st Battalion The Royal Australian Regiment Pte Allan Hansen 384461 Newspaper articles about 'A Digger Dies. Includes mention of Graham Lobb, Christopher Clarke and John Brady and an article titled 'Promise a brother ...This collection of clippings was donated by Graham Rex Lobb who was a private with the Royal Australian Infantry Corps who served in Vietnam from November 1965 to June 1966 with the 1st Battalion, The Royal Australian Regiment.Newspaper articles about 'A Digger Dies. Includes mention of Graham Lobb, Christopher Clarke and John Brady and an article titled 'Promise a brother kept'. This is on page eighteen of Personal Collections 5.newspaper clippings, killed in action, pte christopher clark, pte graham rex lobb, sgt john william brady, major ian fisher, d company, tunnels, a company, digger, major john healy, brigadier o.d. jackson, 1st battalion, the royal australian regiment, pte allan hansen, 384461 -
Ballarat Heritage ServicesPhotograph - Black and White, Smythe's Road School 1923, 1923
... They won first prizes at the Ballarat Show for the butter sculptures. fisher, smythe's road school, smythe's road, school, egan, owen, kent, hamilton, shaw, ballarat, waterloo farm Smythe's Rd School. Brother ...The Fisher family lived at Waterloo farm, Smythe's Road, near Ballarat. Alice Russell Shaw the daughter of Jessie Black Hamilton and John Shaw, married Albert Fisher in 1909 and had 10 children by him. They lived at Waterloo farm, Smythe's Road. Alice Russell Fisher (Shaw) was known as 'Queenie' Fisher. This family farmed in the Smythe's area for many years. They produced fine milk and butter. Jean, their second eldest child recalled that when they made the butter sculptures they used plenty of salt so that it wouldn't melt. They won first prizes at the Ballarat Show for the butter sculptures.Photocopy of original photographSmythe's Rd School. Brother Ed has a letter in his pocket. Joyce and Mary dressed alike in front. Others were Una Kent, Rose Owen, Elenor Egan, George Fletcher. Be about 1923-24 fisher, smythe's road school, smythe's road, school, egan, owen, kent, hamilton, shaw, ballarat, waterloo farm -
Flagstaff Hill Maritime Museum and VillageBook - Fictional stories, Sir Walter Scott, Waverley Novels The Monastery- 2 Vol 19, 1837
... Fisher's. Volume 2 is linked to the earlier volume through its shared setting, families, and historical conflict, but it is not a direct continuation of the same protagonist’s journey. It follows the Glendinning brothers ...The subject volume of Waverley Novels Vol 19 published by Fisher Son & Co (1838) is part of a collected 48 volume set of Sir Walter Scott's works, containing various stories. Vol 19 in the 1836 Fisher edition reprints later entries from the fourth series, as these stories originally appeared in Scott's Magnum Opus 48 volume editions, the first from 1816. With the influential “Magnum Opus” editions from 1829–1833 by Robert Cadell, serving as the basis for later reprinted published sets like Fisher's. Volume 2 is linked to the earlier volume through its shared setting, families, and historical conflict, but it is not a direct continuation of the same protagonist’s journey. It follows the Glendinning brothers and Mary Avenel in the same Scottish Borders world of the Reformation, with the same abbey, the same political tensions, and the same supernatural “White Lady”. In Volume 1 of “The Monastery” the story sets up the core relationships and tensions between Halbert and Edward Glendinning as they grow up near Kennaquhair with Mary Avenel. While the monastery itself becomes a battleground between old Catholic power and the new Protestant order. The second volume picks up those same threads and pushes them toward resolution through Halbert’s rise, Mary’s marriage, and Edward’s shift toward monastic life.Waverley Novels Vol 19 The Monastery-2, Light brown hardcover lettering in black text. Author: Sir Walter Scott Publisher: Fisher Son & Co Date: 1837 fictionThe subject volume of Waverley Novels Vol 19 published by Fisher Son & Co (1838) is part of a collected 48 volume set of Sir Walter Scott's works, containing various stories. Vol 19 in the 1836 Fisher edition reprints later entries from the fourth series, as these stories originally appeared in Scott's Magnum Opus 48 volume editions, the first from 1816. With the influential “Magnum Opus” editions from 1829–1833 by Robert Cadell, serving as the basis for later reprinted published sets like Fisher's. Volume 2 is linked to the earlier volume through its shared setting, families, and historical conflict, but it is not a direct continuation of the same protagonist’s journey. It follows the Glendinning brothers and Mary Avenel in the same Scottish Borders world of the Reformation, with the same abbey, the same political tensions, and the same supernatural “White Lady”. In Volume 1 of “The Monastery” the story sets up the core relationships and tensions between Halbert and Edward Glendinning as they grow up near Kennaquhair with Mary Avenel. While the monastery itself becomes a battleground between old Catholic power and the new Protestant order. The second volume picks up those same threads and pushes them toward resolution through Halbert’s rise, Mary’s marriage, and Edward’s shift toward monastic life. warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, waverley novels vol 46 tales of my landlord, sir walter scott, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, the monastery -
Flagstaff Hill Maritime Museum and VillageBook - Fictional stories, Sir Walter Scott, Waverley Novels St Ronans Well-2 Vol 34, 1838
... Fisher's. St. Ronan's Well Volume 2 advances the central rivalries and intrigues at the Scottish spa. Originally published in 1824 as part of Sir Walter Scott's novel, it spans chapters 14-26, escalating tensions between half brothers Francis Tyrrel and the Earl of Etherington over Clara Mowbray. ...The subject volume of Waverley Novels St Ronans Well-2 Vol 34 published by Fisher Son & Co (1838) is part of a collected 48 volume set of Sir Walter Scott's works, containing various stories. Vol 34 in the 1836 Fisher edition reprints later entries from the fourth series, as these stories originally appeared in Scott's Magnum Opus 48 volume editions, the first from 1816. With the influential “Magnum Opus” editions from 1829–1833 by Robert Cadell, serving as the basis for later reprinted published sets like Fisher's. St. Ronan's Well Volume 2 advances the central rivalries and intrigues at the Scottish spa. Originally published in 1824 as part of Sir Walter Scott's novel, it spans chapters 14-26, escalating tensions between half brothers Francis Tyrrel and the Earl of Etherington over Clara Mowbray. After Tyrrel misses a duel and vanishes, innkeeper Meg Dods fears murder and consults solicitor Bindloose; wealthy traveller Peregrine Touchwood arrives, criticising modern changes and staying at the Cleikum Inn. Etherington gambles with John Mowbray, proposes to Clara citing his uncle's will requiring a Mowbray marriage, and duels Tyrrel secretly, wounding him. Theatricals at Shaw's Castle, anonymous warnings, and Clara's rejections heighten drama, with Etherington revealing their sham marriage past in letters to Captain Jekyl.Waverley Novels St Ronans Well-2 Vol 34, Light brown hardcover lettering in black text. Author: Sir Walter Scott Publisher: Fisher Son & Co Date: 1838 fictionThe subject volume of Waverley Novels St Ronans Well-2 Vol 34 published by Fisher Son & Co (1838) is part of a collected 48 volume set of Sir Walter Scott's works, containing various stories. Vol 34 in the 1836 Fisher edition reprints later entries from the fourth series, as these stories originally appeared in Scott's Magnum Opus 48 volume editions, the first from 1816. With the influential “Magnum Opus” editions from 1829–1833 by Robert Cadell, serving as the basis for later reprinted published sets like Fisher's. St. Ronan's Well Volume 2 advances the central rivalries and intrigues at the Scottish spa. Originally published in 1824 as part of Sir Walter Scott's novel, it spans chapters 14-26, escalating tensions between half brothers Francis Tyrrel and the Earl of Etherington over Clara Mowbray. After Tyrrel misses a duel and vanishes, innkeeper Meg Dods fears murder and consults solicitor Bindloose; wealthy traveller Peregrine Touchwood arrives, criticising modern changes and staying at the Cleikum Inn. Etherington gambles with John Mowbray, proposes to Clara citing his uncle's will requiring a Mowbray marriage, and duels Tyrrel secretly, wounding him. Theatricals at Shaw's Castle, anonymous warnings, and Clara's rejections heighten drama, with Etherington revealing their sham marriage past in letters to Captain Jekyl.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, waverley novels vol 46 tales of my landlord, sir walter scott, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, waverley novels -
Flagstaff Hill Maritime Museum and VillageBook - Fictional stories, Sir Walter Scott, Waverley Novels St Ronans Well-1 Vol 33, 1838
... Fisher's. St. Ronan's Well centres on rivalry between half brothers Valentine Bulmer (Earl of Etherington) and Francis Tyrrel, both pursuing Clara Mowbray amid secrets from a sham marriage and inheritance schemes at a fashionable Scottish spa town. ...The subject volume of Waverley Novels St Ronans Well-1 Vol 33 published by Fisher Son & Co (1838) is part of a collected 48 volume set of Sir Walter Scott's works, containing various stories. Vol 33 in the 1836 Fisher edition reprints later entries from the fourth series, as these stories originally appeared in Scott's Magnum Opus 48 volume editions, the first from 1816. With the influential “Magnum Opus” editions from 1829–1833 by Robert Cadell, serving as the basis for later reprinted published sets like Fisher's. St. Ronan's Well centres on rivalry between half brothers Valentine Bulmer (Earl of Etherington) and Francis Tyrrel, both pursuing Clara Mowbray amid secrets from a sham marriage and inheritance schemes at a fashionable Scottish spa town. The story is set in the early 19th century at the fictional St. Ronan's spa in the Scottish Borders, the story unfolds across three volumes originally published in 1824. Tyrrel returns to the area, reconnects with Clara (whom he once loved), and clashes with locals like Sir Bingo Binks, while Etherington schemes to wed her for her family name to secure his title. Tensions escalate through duels, gambling debts, and revelations about their past, culminating in tragedy with Clara's death and a fatal confrontation.Waverley Novels St Ronans Well-1 Vol 33, Light brown hardcover lettering in black text. Author: Sir Walter Scott Publisher: Fisher Son & Co Date: 1838 fictionThe subject volume of Waverley Novels St Ronans Well-1 Vol 33 published by Fisher Son & Co (1838) is part of a collected 48 volume set of Sir Walter Scott's works, containing various stories. Vol 33 in the 1836 Fisher edition reprints later entries from the fourth series, as these stories originally appeared in Scott's Magnum Opus 48 volume editions, the first from 1816. With the influential “Magnum Opus” editions from 1829–1833 by Robert Cadell, serving as the basis for later reprinted published sets like Fisher's. St. Ronan's Well centres on rivalry between half brothers Valentine Bulmer (Earl of Etherington) and Francis Tyrrel, both pursuing Clara Mowbray amid secrets from a sham marriage and inheritance schemes at a fashionable Scottish spa town. The story is set in the early 19th century at the fictional St. Ronan's spa in the Scottish Borders, the story unfolds across three volumes originally published in 1824. Tyrrel returns to the area, reconnects with Clara (whom he once loved), and clashes with locals like Sir Bingo Binks, while Etherington schemes to wed her for her family name to secure his title. Tensions escalate through duels, gambling debts, and revelations about their past, culminating in tragedy with Clara's death and a fatal confrontation.warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, waverley novels vol 46 tales of my landlord, sir walter scott, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, waverley novels
