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 Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s.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

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

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

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

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

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

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

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

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

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

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

This sailor's collar is part of a naval uniform. It once belonged to R S Wallace, who served in the RAN (Royal Australian Navy) and on the HMAS Warrnambool for three years. After the war he made several ship models including the sailing ship Cutty Sark. From January 1857 the Australian Navy uniform was formally established. The uniform, referred to as a 'sailor's suit', includes a blue flap collar such as this one. Sailors in the Royal Australian Navy wore collars of this design from the early 20th century. The rating personnel of the Royal Canadian Navy were issued with a very similar collar from 1910 to the 1950s. The blue denim collars were buttoned or died inside their tops with the back and the striped portion of the front flaps showing.The square sailor's collar represents the uniform of a rating sailor in the Royal Australian Navy in the early to mid-20th century, connecting it to the maritime history of Australia and the evolution of the uniform of the navy. The collar is the only one in this museum's collection and is connected to a sailor who service in the RAN on the HMAS Warrnambool for three years.Sailor's collar. A square collar of blue cotton fabric with three flaps or strips. Three white stripes make a border on the outside edges and two flaps; the centre flap that has no stripes. There is an inscription. The underside is lined with white cotton fabric that has thin blue stripes. Tapes are attached for fastening the collar. The Royal Australian Navy collar once belonged to R S Wallace."R.S. Wallace"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, sailor’s collar, sailor’s uniform, uniform, military, navy, ran, royal australian navy, r s wallace, seamen's collar, australian defence forces, naval force, sailor's rig, flap collar, naval collar, robert s wallace, collar, sailor's uniform, world war, hmas warrnambool, sailor's suit

Mrs Beth Miller was born in February, 1924 in Latvia. Her family left for Germany after Russian occupation was implemented in Latvia, and eventually sailed for Australia from Naples, Italy in 1949. A working contract and position at the Mayday Hills Mental Hospital brought her to Beechworth, where she settled with her husband and parents. Mrs Miller recounts the daily work in the Mental Hospital during the 1950s, life in Black Spring and the isolation of the immigrant experience. This oral history recording was part of a project conducted by Jennifer Williams in the year 2000 to capture the everyday life and struggles in Beechworth during the twentieth century. This project involved recording seventy oral histories on cassette tapes of local Beechworth residents which were then published in a book titled: Listen to what they say: voices of twentieth century Beechworth. These cassette tapes were digitised in July 2021 with funds made available by the Friends of the Burke.Mrs Beth Millers account of her life in Beechworth and the local area during the 20th century is historically and socially significant to the cultural heritage of the region. She gives important insights into the life of post-war European immigrants in the area. This oral history account is socially and historically significant as it is a part of a broader collection of interviews conducted by Jennifer Williams which were published in the book 'Listen to what they say: voices of twentieth-century Beechworth.' While the township of Beechworth is known for its history as a gold rush town, these accounts provide a unique insight into the day-to-day life of the town's residents during the 20th century, many of which will have now been lost if they had not been preserved.This is a digital copy of a recording that was originally captured on a cassette tape. The cassette tape is black with a horizontal white strip and is currently stored in a clear flat plastic rectangular container. It holds up 40 minutes of recordings on each side.Mrs Beth Miller /beechworth, beth miller, miller, listen to what they say, jennifer williams, oral history, latvia, bonegilla, immigration, mayday, mayday hills, mental hospital, asylum, black spring, bakery, lutheran, immigrant

GEORGE ROSE 1861-1942: - George Rose was a well-known Victorian photographer, famous for his late 19th and early 20th century photography. He was born in Clunes, Victoria, and was in his 20th year when he founded Rose Stereograph Company in 1880. He took the opportunity of a popular trend of the times to produce stereographs, pairs of almost duplicate photographs that appeared in 3D when viewed in a handheld stereo viewer. By the 1920s, these lost their popularity, so he used his photographic skills to produce cards and postcards of scenes and people. The twelve photographs in the Rose postcard folders include locations connected to other items in our Collection, including the Valentine postcard folder in this set. The photographs are titled: - . The Avenue and War Memorial. Warrnambool. Vic. . The Blow-hole. Thunder Point. Warrnambool. Vic. . Botanical Gardens. Warrnambool. Vic. . Eagle Rock. Warrnambool. Vic. . The New Concrete Bridge and Breakwater. Warrnambool. Vic. . Liebig Street. Warrnambool. Vic. . Looking to Thunder Point. Warrnambool. Vic. . The Beach. Warrnambool. Vic. . Hopkins Falls. Warrnambool. Vic. . Shelly Beach. Warrnambool. Vic. . The Mouth of the Hopkins River. Warrnambool. Vic. . Panorama of Warrnambool, Vic. [Kepler Street towards Presbyterian Church on Spence St] This postcard folder shows scenes and places of interest in and around Warrnambool. The George Rose postcard folders in this set were produced in Victoria and include pictures taken by the renowned photographer between 1880 and 1942. Other postcards in our collection have photographs of the same or similar locations at different periods in time. Each postcard records a moment in history and is significant as a way to compare and show the changes in the local environment and community, building a story of the local history. The images record changes in the coastline, land, bay, buildings and other structures, roads, transportation and even the fashions of the times. This copy folder is one of a set of three. This folder has a green-grey textured rectangular card cover with a sketch of a rose on the front. The cover also contains the name of the postcard series, the location of the series' focus, the producer's details, and lines for adding an address. The folded cover contains a long, concertinaed page with six titled photographs on each side, totalling twelve. The folder contains scenes from Warrnambool and nearby popular areas, including Lady Bay, the Port of Warrnambool, the Warrnambool Breakwater, the Viaduct, the Merri River Footbridge, the Hopkins River Mouth, and Proudfoot’s and the Fanny Nelson/Flett boathouses. The cover has a sketch of a rose and inscriptions. The lithograph photographs were taken between 1880 and 1942 by well-known Victorian photographer George Rose, Rose Stereograph Company of Armadale, Victoria.Image: [Rose with rosebud and leaves] Printed: "Rose Series / Picturesque Views of / WARRNAMBOOL / AUSTRALIA" "PUBLISHED BY / ROSE STEREOGRAPH CO / ARMADALE. VIC."flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, warramble, postcard, postcard folder, warrnambool scenes, picturesque views of warrnambool, lady bay, port of warrnambool, breakwater, warrnambool breakwater, viaduct, merri river footbridge, merri river suspension bridge, suspension footbridge, merri river mouth, hopkins river mouth, proudfoot's, fanny nelson, nelson's boatsheds, nelson's boathouse, boathouse, hopkins river boathouses, flett's boathouse, flett, george rose, image of a rose, rose series, rose stereograph co, rose stereographic company, lighograph, armadale victoria, lady bay beach, beach scene, lower light, concrete footbridge, 1922 footbridge, viaduct road, rose postcard, new concrete bridge, 1945, 1890, 1922, small footbridge, 1872 footbridge, 1872, merri river estuary, stingray bay, postcards, green-grey postcard folder, shipwrecked coast, maritime museum, souvenir, warrnambool local scenes, photography, local history, tourism, photographs, visitors, travel, scenes, mid-20th century, 1940s, 1950s, concertina fold, z-fold, 1880s, collection, correspondence, rose stereograph co armadale, victorian photographer, soldiers’ memorial, hopkins river, the cliffs at shelly beach, the road to sandy beach, pier, botanic gardens, post office, municipal buildings, merri river, proudfoot’s

This photograph is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. This sepia photograph is from circa 1950s and came in an envelope with a postage mark commemorating the Australian Jubilee of 1901 and a 2-penny stamp with King George VI. The photo includes Dr. Angus in the second row wearing glasses, his wife Mrs. Angus seated behind in the third row. John Lindsay, Committee Member WDBH, is possibly in the third row on the right. It is probably Sister June H. Stewart, Matron, wearing glasses is seated behind Mrs. Angus. Mr. J. Taylor was Hon. Treasurer. All these names are inscribed on the back of the photograph. The envelope that the photo came is has a note “NURSES GRADUATION WARRNAMBOOL HOSPITAL ?1951/PHOTOGRAPH OF GRADS. The 1951 Report of the Warrnambool and District Base Hospital cites McMillian as a Committee Member, Mr. Taylor as Honorary Treasurer and Dr. Angus was Medical Officer to Diseases of the Eye, Ear, Nose and Throat. It is wondered if this building is the one used by the hospital and removed to 54 Banyan Street, Warrnambool for the use of Legacy? The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery.Sepia photograph of nurses and guests seated in rows at an official function. MR McMILLAN/MR J NED TAYLOR/MRS J TAYLOR/ SISTER STEWART/ DR W R ANGUS/MRS ANGUS/Ralph Illidge WARRNAMBOOL on the back of the photograph.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, dr. w.r. angus, dr. roy angus, warrnambool & district base hospital, nurses graduation, ralph illidge, 1951 warrnambool, jubilee year australia, 1901-1951, ophthalmology

W.D & H.O.Wills (Australia) Ltd began manufacturing tobacco products in 1913 at its Raleigh Park factory in Kensington, Sydney. In 1945 an estate of 16 acres was purchased at East Bentleigh, Melbourne, with a further 22 acres purchased later and the Virginia Park manufacturing branch was established. The 1950s were to be one of the most successful decades in the company’s history and it enjoyed a peak of 83 per cent market share in 1954. But this was also a period of increased competition as Phillip Morris and Rothmans entered the Australian tobacco market. By 1972, increased competition meant that the company’s market share had slipped to 39%. By the time tobacco advertising was banned on Australian radio and television in 1976, Wills' market share had fallen a further 6%. In 1985 Wills combined the separate factory operations in Sydney and in Melbourne into one site at Pagewood, Sydney which took on the name Virginia Park. In 1989 W.D & H.O.Wills (Australia) became a subsidiary of the British American Tobacco Industries group of companies. 1999 British American Tobacco merged with global competitor Rothmans International. Rothmans in Australia and Wills merged to form the wholly-owned subsidiary British American Tobacco Australia. The merger left British American Tobacco Australia, Phillip Morris and Imperial Tobacco Australia A tin with a hinged lid for 'Champion' Tobacco flakesCHAMPION / HIGHEST GRADE / CUT TOBACCO / MANUFACTURED BY / THE BRITISH AUSTRALIAN TOBACCO CO.PTY.LTDtobacco, cigarettes, brittish australian tobacco co. pty. ltd., moorabbin, bentleigh, cheltenham, early settlers, , wd &h.o.wills pty. ltd., east bentleigh, kensington , virginia park east bentleigh, champion flake tobacco

W.D & H.O.Wills (Australia) Ltd began manufacturing tobacco products in 1913 at its Raleigh Park factory in Kensington, Sydney. In 1945 an estate of 16 acres was purchased at East Bentleigh, Melbourne, with a further 22 acres purchased later and the Virginia Park manufacturing branch was established. The 1950s were to be one of the most successful decades in the company’s history and it enjoyed a peak of 83 per cent market share in 1954. But this was also a period of increased competition as Phillip Morris and Rothmans entered the Australian tobacco market. By 1972, increased competition meant that the company’s market share had slipped to 39%. By the time tobacco advertising was banned on Australian radio and television in 1976, Wills' market share had fallen a further 6%. In 1985 Wills combined the separate factory operations in Sydney and in Melbourne into one site at Pagewood, Sydney which took on the name Virginia Park. In 1989 W.D & H.O.Wills (Australia) became a subsidiary of the British American Tobacco Industries group of companies. 1999 British American Tobacco merged with global competitor Rothmans International. Rothmans in Australia and Wills merged to form the wholly-owned subsidiary British American Tobacco Australia. The merger left British American Tobacco Australia, Phillip Morris and Imperial Tobacco Australia Virginia Tobacco, or Flue-cured tobacco, is named after the US state where it was first cultivated. It is also called ‘bright tobacco’ because of the yellow to orange colour it achieves during curing. It grows particularly well in subtropical regions with light rainfall, such as Georgia, Florida and the Carolinas in the USA, Southern Brazil and Zimbabwe. In Australia, blends are predominantly Virginia, for example, Dunhill and Winfield. Virginia blends contain only flue-cured Virginia tobacco W.D & H.O. Wills Pty Ltd - In 1945 an estate of 16 acres was purchased at East Boundary Road, East Bentleigh, Melbourne, with a further 22 acres purchased later and the Virginia Park manufacturing branch was established. The plant was closed 1985 when the firm moved to Pagewood, Sydney New South WalesA circular tin with a lid that is opened by twisting a coin in the rim and closed by screwing the lid down. Instructions written on base of tin. Contained ‘Log Cabin’ tobacco.lid :LOG CABIN / FLAKED GOLD LEAF / TOBACCO / base ; LOG CABIN / SKRU SEAL / To open twist coin / to reseal screw lid / TOBACCOtobacco, cigarettes, smoking pipes, cigarette papers, moorabbin, cheltenham, bentleigh, log cabin tobacco, w d & h o wills pty ltd , british american tobacco ltd, rothmans international ltd, east bentleigh

W.D & H.O.Wills (Australia) Ltd began manufacturing tobacco products in 1913 at its Raleigh Park factory in Kensington, Sydney. In 1945 an estate of 16 acres was purchased at East Bentleigh, Melbourne, with a further 22 acres purchased later and the Virginia Park manufacturing branch was established. The 1950s were to be one of the most successful decades in the company’s history and it enjoyed a peak of 83 per cent market share in 1954. But this was also a period of increased competition as Phillip Morris and Rothmans entered the Australian tobacco market. By 1972, increased competition meant that the company’s market share had slipped to 39%. By the time tobacco advertising was banned on Australian radio and television in 1976, Wills' market share had fallen a further 6%. In 1985 Wills combined the separate factory operations in Sydney and in Melbourne into one site at Pagewood, Sydney which took on the name Virginia Park. In 1989 W.D & H.O.Wills (Australia) became a subsidiary of the British American Tobacco Industries group of companies. 1999 British American Tobacco merged with global competitor Rothmans International. Rothmans in Australia and Wills merged to form the wholly-owned subsidiary British American Tobacco Australia. The merger left British American Tobacco Australia, Phillip Morris and Imperial Tobacco Australia. Virginia Tobacco, or Flue-cured tobacco, is named after the US state where it was first cultivated. It is also called ‘bright tobacco’ because of the yellow to orange colour it achieves during curing. It grows particularly well in subtropical regions with light rainfall, such as Georgia, Florida and the Carolinas in the USA, Southern Brazil and Zimbabwe. In Australia, blends are predominantly Virginia, for example, Dunhill and Winfield. Virginia blends contain only flue-cured Virginia tobacco The W.D.&H.O.Wills Ltd manufacturing plant was situated in Boundary Road East Bentleigh 1945 – 85. Virginia Park is still a Commercial Business Area A tin with a hinged lid for 'Capstan' "Navy Cut tobacco Lid: CAPSTAN / NAVY CUT / W.D. & H.O. WILLS LTD inside lid - This tin of which only a / limited number will be / issued will be found convenient / for smokers as a vest / pocket container and can / easily be refilled with the / contents of the ordinary 1oz / packets of 'Capstan Tobacco'tobacco, cigarettes, cheltenham, moorabbin, early settlers, smoking pipes, cigarette papers, bentleigh, navy cut tobacco, w d & h o wills pty ltd , british american tobacco ltd, rothmans international ltd, east bentleigh, capstan tobacco

Blue Harback 483 page book. Writing on the spine in gold lettering with an image of an ancient Greek (Spartan?) soldier in a circle at the bottom. Two gold lines across the bottom of the spine. The front and back cover are blank. No dust cover. Inside is an order form for ordering more books from the same published - Pergamon Press.non-fictionA non-fiction book detailing information about Antarctic weather patterns.meteorological, weather, antarctic, 1950s, maritime, nautical, portland

This book contains a collection of essays written by Walter Murdoch. Most of them were originally published in the Melbourne Argus newspaper. Walter Logie Forbes Murdoch (1874-1970) had a distinguished academic and literary career. In addition he was a household name to two generations of Australians through his radio broadcasts and syndicated columns in several Australian newspapers. In 1901 Murdoch came to Warrnambool as the proprietor of a private school. In 1904 he became a lecturer in English at Melbourne University and later the foundation Professor of English at the University of Western Australia. He was later its Chancellor. Murdoch University in Western Australia is named after him and he was knighted in 1964. He published over 40 books. This book is of interest as it was written by Walter Murdoch who was not only an important figure in Australia literature but also he played a part in Warrnambool’s history. He came to Warrnambool in 1901, going into partnership with James Scott, the proprietor of Warrnambool College. They bought out Stanley’s Warrnambool Grammar School and when Scott retired Murdoch became the sole proprietor and Headmaster of Warrnambool College. Whilst in Warrnambool Murdoch wrote the school history text book, ‘The Struggle for Freedom’. He left Warrnambool in 1904. The original owner of the book, Mary Minkwitz, may have had some connection with Warrnambool as a member of the Minkwitz family who lived in Warrnambool in the 1950s. This is a hard cover book of 240 pages. It has a dark green cover with the name of the book and the author printed in gold lettering on the spine. It has a Preface, 35 short essays by Walter Murdoch and an Index. The spine lettering is faded and the cover has some slight rubbing. It is bound with glue and reinforced inside the cover with tape. ‘This book belongs to Mary D. Minkwitz’.walter murdoch, australian literature, history of warrnambool, warrnambool college (early 20th century)

This is a collection of five photographs taken at the Army Headquarters Survey Regiment, Fortuna Villa, Bendigo, circa 1950s to 1960s. Appearing in photo .3P is MAJ Edward Anderson MBE, who served from 1942 to 1977 and reached the rank of LTCOL. LT Frank Thorogood SB St J. served from 1960 to 1981. He reached the rank of LTCOL and was the CO of the Army Survey Regiment from 1980 to 1981. CAPT W. Greer’s service history is unknown. Appearing in photo .5P is MAJ Nolan, who served from 1939 to 1975. He was promoted to LTCOL and was the CO of the Army Headquarters Survey Regiment from 1965 to 1969. He was subsequently promoted to COL and was the Director of Military Survey from 1972 to 1975.This is a collection of five photographs taken at the Army Headquarters Survey Regiment, Fortuna Villa, Bendigo, circa 1950s to 1960s. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. They were scanned at 300 dpi. .1) - Photo, black and white, 1950s. Regiment briefings by Fortuna’s lake. .2) - Photo, black and white, 1960s. Unidentified officer and civilian visitors in the Officers Mess. .3) - Photo, black and white, 1960s. L to R: MAJ Edward Anderson MBE, CAPT W. Greer and LT Frank Thorogood SB St J; in the Officers Mess. .4) - Photo, black and white, 1962. Regiment parade held in Fortuna’s grounds where the tennis and basketball courts were later developed. .5) - Photo, black and white, 1960s. MAJ John Nolan (centre) with unidentified civilian visitors.Personnel were identified in photos .3P and .5P. The date is annotated on photo .4P.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

This product was introduced in an era where the "silky smooth" look was in vogue. From the 1920s on, American and British film stars set the tone of how clean cut (hero type) masculine look attracts the opposite sex faster and in greater quantities than the "unkempt" or natural maintained look. This look was bold and "polished" and had the intended projection that the hair matched the character of "I look after myself and have a high opinion of physical appearances". As fashion goes this slick and well maintained look has circled many times, in and out of history and in Australia in the 1950s this was a prime example. The liberation of the stereo type of both sexes occurred in the 1960s when the freedom loving "hippie culture" had a marked affect upon the city inhabitants but not so strong among rural males. Sexism was still rife in that time frame.This jar of Brylcreem was a part of the (masculine) rural scene for a longer period than that found in the larger towns and cities. The long held "men are men" and "women are women" distinction between the sexes lingered on more in rural areas because of the perceived physical differences, mainly "strength" and perceived tasks such as "men only" activities (heavy farm/mining/construction). The jar of Brylcreem maintained the respectable male look for those special occasions when males "dressed" up and looked clean physically and well behaved (to show respect to the women folk)This glass jar with a glued on,red background, label detailing the product Brylcreem (a men's) hairdressing ointment is empty of its original product. It has been contoured on each side to allow for a man's fingers to comfortably and firmly grip the jar. This form would allow even "greased up" hands to maintain control. The glass thickness is far greater than needed and also added the extra stability to the standing jar. The shape of the jar is a latent attempt to emulate the physique of a fit young man (small waist, expanded and muscled mid rift and large shoulders). The jar does not distract from viewing its contents (clear glass). It has a black gloss screw (on/off) lid made from mild grade steel. The jar holds approximately 200 grams of a thick molasses textured product. On the front red Label; in large white letters "BRYLCREEM" underneath this is in smaller silver print "THE PERFECT HAIRDRESSING" underneath this is a banner type motif with a crown at the top and a black letter "B"in the centre. Below this and in much smaller print are printed in black script "BEECHAM (AUSTRALIA) PTY. LTD. MELBOURNE VICTORIA M A Imen's deportment, toiletries, men's hair styles, physical appearances

The foundation stone of the Scots Church Ellerslie was laid by Mrs Jemima Vans Robertson on 1st November 1870. She was the leader and benefactor of the church. Worship services were held in the church for the next 145 years. The Sunday School was started in1871 and until 1977 Ellerslie was part of the Framlingham Presbyterian Charge. The PFA for young people was very active in the 1950s and 60s. Since 1977 the Ellerslie church has been part of the Uniting Church in Australia and was an integral part of the Mortlake Parish. The church closed in 2014 and marked for sale. This program is of some interest as it gives us a short history of Scots Church in Ellerslie and tells of its closure in 2014. This is a program for the closing of Scots Church Ellerslie (2014). It has five double pages with printed material and colour photographs. The pages are stapled together.Front Cover: Uniting Church in Australia, Scots Church Ellerslie 1870-2014 Formerly Presbyterian, Closing Service, 1.30 p.m. Sunday 7th December 2014ellerslie, scots church, presbyterian church, uniting church

This passport belonged to Alexander Swinton, a member of a prominent family in Warrnambool. The passport shows that he travelled extensively in Europe, U.S.A. and Central and South America. Alex Swinton’s forebears, William and Ann Swinton came to Warrnambool in 1854 and William Swinton opened a shop selling hardware, china and glassware in Timor Street Warrnambool in 1865. The Swinton businesses expanded in the 19th and 20th centuries and a Swinton furnishing store still exists today, making this store one of the oldest family businesses in Australia. Alexander Swinton (1907-1986) was the son of George and Florence Swinton of Merri Crescent Warrnambool. He attended Warrnambool Technical School in the early 1920s.This box is of interest as a memento of Alexander Swinton, a member of a prominent Warrnambool family. It also shows the type of passport issued to Australian citizens in the 1950s and 60s. These are two passport booklets joined together with white tape. Each has 32 pages and the booklet contains two black and white photographs, personal information (both printed and written), stamps and printed information from various countries and two inserted certificates. The front cover is black with printing and the image of the Australian Government crest.British Passport Commonwealth of Australiaalexander swinton, warrnambool, history of warrnambool, swinton, passport

Parry Collection ‘Sunbeams’ and ‘Corinella’ were two of the few ways an Australian kid could get some acknowledgement and a pat on the back from the big wide world from the 1930s through to the 1950s. The Corinella columns ran in the Sun Newspaper with puzzles, jokes and colouring competitions. Kath Farmer played the role of ‘Corinella’ for yonks and hosted annual ‘Corinella’ Parties for boys and girls aged 5 to 13 years for decades. Sunbeam Certificates were awarded to young readers for good puzzles, riddles, drawings or original stories or verses. The Sun Newspaper Sunbeams Club Envelopes and Awards, envelopes with Ginger Meggs effigy and warning for the postman to take care with the delivery; various certificates received in return for colouring competitions and puzzles submitted back to the Sun Newspaper. Letters were sent to Merle Symons, Orville, Murphys Creek.history, bendigo, sunbeam club sun newspaper, merle lummis collection

Sport has never been more competitive in the 1950s to the 1980s than it is today, nor its practitioners more clearly cast in the role of competitors. It is as such that the photographs in the book portray modern sports men and women capturing the intense effort, concentration, physical and mental prowess that is required of them. On page 19 and 135 it shows Cliff Young driving through the rain and shine on his way to winning the Melbourne to Sydney marathon. Competitors: the sports experience. Australian sporting photographs, 1950s to 1980s. Ann Atkinson (ed.). The Fairfax Library; Ultimo (NSW); 1988. 176 p.; illus. Copyright: Daniel O'Keefe Publishing Pty. Ltd., 1984. ISBN 8 86290 003 5 sports; history; competitors; cliff young; photographs;

Old film of Beechy Line shot from Train and from near the line.History of Narrow Gauge Lines in Australia during the 1950s and 1960s. They include the Colac and Beech Forest lines. Shot in the 1960s.beechy line