The Norman Oliver collection. Norman Oliver was three times Mayor of Bendigo - 1950-51, 1964-65, 1970-71. Two typed pages titled 'Complimentary Dinner to Mr L. R. East, C.B.E. Thursday 25th March, 1965 Attendance List.' Guests include representatives from the State Rivers and Water Supply Commission and country Victoria irrigator groups.bendigo, council, norman joseph oliver , councillor norman oliver. mayor of bendigo. state rivers and water supply commission.

Made in 1977 at Ringwood East Primary School; photos of each class, one of the teachers. Students named.Located in a 15-page photo album with silver coloured cardboard covers with blue cloth spine and blue printing on front, plus 1 loose photo. Includes class photos.School year 1977 - Martin Joyce colour studios

Transfer of effects from bluebird cafe to boomerang cafe east of Rly Crossing Proprietors Bridge & Nell Myersphotograph, people

Note on back to Ella from her brother Don dated 1920Black and white postcard showing the old Swan Reach bridge over the Tambo River looking east. Buildings L to R Riverslea guesthouse and school with high pitched roof. Swan Reach VictoriaTambo River Swan Reachwaterways, boats and boating, township, guesthouses, bridges

Photo of SEC Ballarat No. 24 after its disposal following a significant accident in 1954. See item 5535. Received in an envelope marked "24 Wilson St Ballarat East 12/65" in R. Lilburn handwriting. See also item 6607 for another photograph of c1973.Yields information about the disposal of Ballarat tram 24.Set of two colour prints - one on Agfa and the other on Kodak Royal paper.tramcars, trams, scrapped trams, tram 24

Members at the General Managers Conference, London, around 1946.Black and white photo of 7 men seated around a table in suits. Photo is framed in wooden frame painted silver. Back of the frame has the names of the men written in pen.Back: [handwritten] LEFT TO RIGHT / Mr Wollan Manager Dalgetys East Africa / K. R. ELDER GM Australia / LT. COL. HON. I. LESLIE MELVILLE DIRECTOR / DESMOND ABEL-SMITH CHAIRMAN DALGETYS / G.S. HUNTER GENERAL MANAGER / LONDON / M. STOOKS Secretary / D. COOPER G. MANAGER NZ / General Managers / Conference London / About 1946managers, coference, london, dalgety and company limited

.1) The card is to Dear May from her brother Roy. Roy is No 66886 Pt R C MCINTOSH B COY 24th BN 2 N.Z.E.F. - M.E.F. (N.Z.E.F.) New Zealand Expeditionary Force. (M.E.F.) Middle East Expeditionary Force. .2) The card is to Mrs T J Chapman 124 Barnard St Bendigo Australia The card is from Roy in .1). .3) The card is to Mrs T J Chapman C/- Mrs H McIntosh 60 Kiwitea Street Sandringham Auckland New Zealand Card is from Roy in .1)..1) Card folding, printed in black for Mothers Day 9th May 1943 in New Zealand. Card is do May from R C McINTOSH. .2) Card, one sided, printed in black re Xmas 1943 from the Eighth Army in the Middle East. Card is from R C McINTOSH to Mrs T J Cvia Mrs H McIntosh. .3) Card, one sided, printed in black re Xmas 1943 from No 3 N.Z.G.H. Card is from R C McINTOSH to Mrs T J Jackson.cards, nzef, mef

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) .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, 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) .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

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

Herbie MATTHEWS (the Captain/Coach) previously played with South Melbourne in the then Victorian Football League.Photo of Ringwood Football Club 1948 Firsts Premiership team. Ringwood Football Club Premiership 1948. Back row - G Mahon, J Maidment, M Westmore, R East, F Barro, C Fitzgerald. Third row - J Prouse (trainer), M Maidment, G Hinds, J Morgan, H Morgan, A Tasker, J Westmore, Leo Pratt (trainer). Second row - W Connell, K Pratt (President), S Beal, H Matthews (Captain and coach), J Lindsay (Secretary), V Morphett. front row - K Hare, I Binns, M Donaldson (Boundary Umpire), J Burgess, T Pratt. On the back "Geoffrey Baker Studios, 620 Burke Rd, Camberwell, WF8070, 961 Whitehorse Road, Box Hill, WX3645, 28 Pitt St, Ringwood, WU8201.

Titled Old Long Gully From Rae's Hill to McGowan St. LG. West Side - Jack Read Painter etc, Norris Bros Black Shop, Norris Bros Wood Yard & Chaff Mills, Iron Bark East Gold Mine, Sunday School, Tennis Courts Sunday School & Church, LG Fire Brigade, Creeth Street, Mine Managers Residence, Shop, Shop Mrs Hocking, Chinese Laundry, Allpress the Baker, Greenfell the Butcher, Hairdresser Beckinsall was the Fire Brigade Hotel, Dick White the Saddler, Store, Hotel Rose of Australia, Woodyard, Blacksmith Shop Wagon Repairer, Hotel Kocks (Pioneer Hotel), 2 China Shops owned by Chinese, Hotel Silver mines Hotel, Police Station, Grocers Shop (per? Reef Mine Hotel) E Bryant, Mine Windmill, Church Residence, Minister. East Side - Hopetoun Band R, Manchester Arms Hotel, Minister House, Church, IOR Hall, Shop Lollies Icecream, Boot Maker & Repairer, Back Smith Shop, Shop Childrens Wear, Butchers Shop, Creeth Street, Grocers Shop, Lolly Shop & Soft Drinks, Boot Maker & Repairer, Residence (Davey's), Lollie Shop (Fields), Dressmaker, LG Post Office (M Webb), Millars Bakers Shop, Butcher Shop, Mechanics Institute Books & Paper & Billiard Room, Connell the Baker, Dr SElby, Pentreath Organ Builder & Tuner, Blacksmith Shop, Hexagon Toilet, Kocks Machine Shop, Kocks Mine Office, Kocks Material Shop, Police Station, Dyson's Dam Warm waer, Air Station, Mine Battery stone crusher 80 head approx, Kocks Mine, Needle Mine. Some notes written at the end - Norm Shotples used to have Barber Shop - he has gone to Queensland, Violet Street started off as the German School, Wells Street used to run through Victorian Consol ? the other side, Comet Hill would like a visit. Contact Helen Gorlay at Violet Street would line to some video. Alan has good info on the Long Gully School. Betty has book. Views of Bendigo. Frank Cusack - Bendigo Trust. Bendigo School Hisking? School, Violet Street. Older levels lo?ing at Architecture.bendigo, history, long gully history group, the long gully history group - old long gully from rae's hill to mcgowan st, jack read, norris bros, iron bark east gold mine, long gully fire brigade, mrs hicking, allpress, greenfell, beckinsall, dick white, rose of australia, hopetoun band r, manchester arms hotel, ior hall, davey's, fields, m webb, millars, mechanics institute & billiard room, kocks pioneer hoel, silver mines hotel, e bryant, windmill mine, pere? reef mine hotel, connell, dr selby, pentreath, kocks machine shop, kocks mine office, kocks material shop, dyson's dam, kocks mine, needle mine, norm shotples, german school, victoria consols, helen gorlay, long gully school, frank cusack, bendigo trust

This photograph is recorded as having been taken in the North East Victoria Regional Tourist Authority, Wangaratta and depicts an exhibition display of items and interpretative labels associated with the Kelly Gang. The display was reportedly laid out as part of a Vic Tour Stamp, with items from the Burke Museum Collection.This photograph is of social significance due to its connection with the Burke Museum as well as the Kelly Gang. The Kelly Gang story is integral to the formation of the Australian identity and highlights the Irish oppression during the 1880s. Ned Kelly is an Australian icon, mythologised in Australian literature, art, folklore and history, and the Kelly Gang permeates Australia's national consciousness. The significance of the Burke Museum is also highlighted here, as the photograph shows the importance of the Kelly story to the Beechworth area and local identity, as well as its significance within the museum collection. The photograph is of strong research potential due to its depiction of the Kelly Gang history in Australia and its presentation of a historical museum exhibition which toured from Beechworth to other Victorian locations. With a depiction of the exhibition and associated label, the photograph provides insight into how the language and historical interpretation of Kelly Gang has developed, and how cultural and social opinions which are often shaped by exhibition displays, have shifted. Black and white rectangular photograph printed on matte photographic paper.Obverse: Gold Cradle / History / Claim 1835 / The north east is rich in history. It was the home of Ned Kelly, the 'Man from Snowy River' and (???) dog Mogan. Century old buildings are common and (???)nders of the gold rush days are everywhere / V. R. / £8000 Reward / Robbery and Murder / (indeterminate) Reverse: The historical display laid out in VICTOUR / 1997 3135 / North East Victoria/ Regional Tourist Authority/ P.O. Box 250/ Wangaratta. 3577 /BMMA03324burke museum, ned kelly, kelly gang, museum collection, exhibition, display, gallery, museum, exhibit

Previously published as The Snowy River mail and Tambo and Croajingolong gazette from 1890 to 1911. The Gippsland Courier merged with the Snowy River Mail when proprietor Lachlan Ross moved to Orbost in 1910. In 1999 the paper was acquired by the Yeates family when the Hollins family retired from the newspapers business. The paper is still being produced by the fourth generation of the Yeates family as part of East Gippsland Newspapers. They also produce the Bairnsdale Advertiser, the East Gippsland News and the Lakes Post and the yearly publications East Gippsland Visitor Guide and the Great Alpine Road Touring Guide. Robert Pullar Cameron was a Shire Councillor for many years. He married Penuel Hossack and had a family of James, Flora, Penuel and Alex.This item is an example of the early book-keeping of the Snowy River Mail newspaper and is a useful research tool.A light blue paper account with dark blue print from The Snowy River Mail, Newspaper and General Printing to R. Cameron.snowy-river-mail cameron-robert-pullar

This photograph shows the Lady Harriett, her barge, the Wyrallah and Storm Bird with Captain Jimmy Bills at Harbeck's wharf, Lakes Entrance, The Lady Harriett was a small steamer that serviced the Tambo River and other areas. In 1895 the Lady Harriett was advertised to run between Bairnsdale and Mallacoota on a weekly service. The Lady Harriett and barge did two or three trips up the Tambo per week. She did not carry passengers or run to a timetable and would carry maize and beans as well as fish from Mallacoota where by 1900 the fishing industry was well established' Lady Harriett towed her barge carrying an assortment of goods up the Tambo from 1895 to 1913. The S.S. Wyrallah was a regular Melbourne header for over twenty years. She was run down and sunk by the steamer Dilkera with the loss of six lives at Port Philip Head. (ref. The Argus Friday April 11 1924)This is a pictorial record of a once busy wharf. From Lakes Entrance ocean-going vessels had access to the Gippsland Lakes, the largest navigable inland waterway in Australia.A large black / white photograph of two large ships and two smaller ones at a wharf. There are people on the wharf and on the boats.on back - "Jo-Bull", L-R Lady Harriet.........."lady-harriett s.s.-wyrallah shipping-east-gippsland harbeck's-wharf-lakes-entrance sea-transport

This is a photograph of Tambo and Orbost Shire Councillor, Hugh Cameron (born 1850 died 1921) who represented S R/ Bendoc Riding in 1184-1886 and from 1891-1892. Hugh Cameron was also on the Orbost Shire council from 1892-1915. (more info. in O.D.H.S. newsletter -Tambo Shire)This item is associated with the Orbost Shire Council. The shire covered an area of 9,347 square kilometres and existed from 1892 until 1994 when it became part of the East Gippsland Shire Council. It is also associated with Hugh Cameron.A black / white head and shoulders portrait photograph of a bearded man in a suit.There is also a framed photograph.cameron-hugh orbost-shire-council

This gun was presented to Robert O’Hara Burke Esq in 1858 by the Beechworth Police in recognition of his four years’ service as the Police Superintendent at Beechworth. It arrived back in Beechworth on Thursday 10th April, 2014.Presented to R. O’Hara Burke Esq / Supt. of Police by the Officers of the district on his transfer from Beechworth / November 1858 /burke, robert o'hara burke, burke museum, robert o'hara burke museum, firearm, burke and wills, burke & wills, burke and wills expedition, expedition, beechworth, indigo shire, north-east victoria, revolver

This postcard was published by R. & B. Hall in Beechworth and printed in Saxony, circa 1930. Saxony is a landlocked state of Germany which borders the states of Brandenburg, Saxony-Anhalt, Thuringia, Bavaria and the countries of Poland and the Czech Republic. This particular postcard is embossed with a pattern which surrounds the middle image in the center of the card. This image depicts Asylum Avenue which leads to the Mayday Hills Asylum in Beechworth, Victoria. What makes this scene particularly interesting is the appearance of snow which is rare in Beechworth. The road depicted on the postcard has track marks made by a car with thin wheels. Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town. A pamphlet published by James Ingram and Son (1849) reveal that famous landmarks in Beechworth which included the Post Office, Gaol, Courthouse and Asylum "demonstrate the appreciation of Beechworth by the Government not only as as important district center, but also as a site unrivaled as a sanitarium". There were other locations in contention at the time, but ultimately Beechworth was chosen (Craig 2000, 33). Prior to the creation of the Asylum in Beechworth, those charged with having mental illnesses or, as it was termed, "insanity" were unable to be properly cared for in the Gaol (which is where they were often sent). John Buckley Castieau wrote, in 1861 for the Ovens and Murray Advertiser, that the Gaol was unable to properly care for those classified then as "insane" but that they would endeavor to treat them above the other inmates (which he notes is not always the case in other establishments). Castieau wrote this in favour of supporting the building of the Mayday Hills Hospital in Beechworth. It was stated that at the time the Mayday Hills Hospital was built, there were 83 prisoners kept in the Gaol who were to be rehoused to the Hospital on the grounds of "insanity". The classification as someone as "insane", in this period of time is a reflection on the inability to cure and understand illnesses of the mind during the mid to late 1800s. Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. Opening on the 24th of October 1867, the Mayday Hills Hospital was originally named the "Ovens Lunatic Asylum", a title which is very much a product of its time. Whilst controversial, changes to the name is part of the history of the Hospital and can provide much insight into the understanding of mental illness throughout history and the use/disuse of this term provides information into the reception/changing opinions of mental illness in society. The Hospital would later become known as the "Mayday Hills Asylum" and/or "Mayday Hills Hospital" with the latter being the most commonly used title. An article in the Ovens and Murray Advertiser notes that on the 7th of March 1865, the foundation stone of the Hospital was laid (it would officially open in 1867) and that it was such a moment of accomplishment and joy for Beechworth that a letter to the editor even suggested that there should be a holiday dedicated to the day the foundation stone as laid. This reveals an extent to which the townspeople of early Beechworth valued the construction of the Hospital in their town. It provided the town with a sense of prestige and honour.At first glance, the remains of the Mayday Hills Hospital in Beechworth, Victoria, inspire tragedy, trauma and beauty. The buildings themselves, with their Italianate style Renaissance architecture designed by J.J. Clark (Craig 2000, 49 & Smith 2016, 203) reflect a bygone period of European and Australian history. The gardens provide a sense of tranquility and beauty. The experience of those within these walls remains a valuable area of study to provide a more complete understanding. This particular hospital is considered the fourth of its like and one of three identified as the largest of their kind. The Mayday Hills Hospital is a sister to the Kew and Ararat Asylums in Melbourne which are both located in relative proximity. Understanding the role of the Mayday Hills Hospital in Beechworth history is integral to understanding the development of the goldfields town, but also for providing important information as to the history of caring for, and the reception of, mental illnesses in Australian and wider European history. Mayday Hills provides a case study which can be researched through oral history, an analysis of the grounds/buildings and through images like this postcard which portray the structure in a highly deliberate manner. Images like this depict the strong façade of the Hospital and provide a glimpse into the tranquility of the gardens. This has been done deliberately to provide a sense of comfort and healing about the building to those looking from the outside. Further research into the importance of the Hospital in Beechworth and it's connection to the town will be supported through images like these kept in the Mayday Hills photo album in the collection of the Burke Museum.Pale coloured rectangular postcard printed on matte embossed card.Obverse: Snow Scene; Asylum Avenue, Beechworth. / Reverse: POST CARD / ADDRESS ONLY / Published by R. & B. Hall, Beechworth. / Printed in Saxony. / 3447 [crossed out] / 1997.2492 / AFFIX STAMP /asylum, asylum avenue, beechworth, snow north-east vic, victoria, snow scene, mayday hills, mayday hills hospital, mental hospital, colonial attitudes, mental health, history, town development, postcard

Photograph of a group of firemen posing for newspaper article holding various fire brigade equipment that was published in the Border Morning Mail Monday 15th April 1940. Sepia rectangular newspaper reproduction printed on matte photographic paperObverse: One of the many bush fire brigade units who protect the north-east of Victoria, who paraded at Beechworth on Saturday. The group includes: Messrs. E. Jessup, F.Paton, G. Witherow, J. Carney, M. Sonneman, K. Allen, G. Wald, W. Rae, W. Lee, D. Hume, J. Morrison J. Neary, A.D. Neary, J. Witherow, A.J Goonan, R. Hupwood and W. Shannon. Reverse: 7625.1emergency services, beechworth, burke museum, newspaper article, photograph, fire brigade, fire, firemen

Certificate is of the pledge that the brigade made to His Royal Highness the Duke of Edinburugh at a dinner that the Duke attended at the Ballarat Fire Station on 10th December 1867 during a royal visit to the district. White timber framed pledge from the Ballarat Fire Brigade to His Royal Highness the Duke of Edinburugh during his royal visit in December 1867. Pledge is on white paper with a coat of arms near the centre at the top of the page. Lettering is mainly in black ink with some red coloured letters being used. Certificate has a light brown coloured border around it with a hand drawn scrolled decorative edge made in gold colour. To His Royal Higness / The Duke of Edinburugh / May It Please Your Royal Highness / We Othe fficers and Members of the Ballaarat Fire Brigade, an institution based upon pure philanthropic / principles, our motto being "We Strive to Save" bear to approach your Royal / Highness with feelings of devotion and attachment, and deep felt gratitude to the Almighty, for this / opportunity of envicingour loyalty to Her Most Gracious Majesty Queen Victoria, your Royal / Mother: and, of tendering a hearty Firemans welcome to Your Royal Highness, in the land of our / adoption, and the good town of Ballaarat East, our residence. / We are deeply impressed with the great honor and importance of your Royal Higness's visit to the / Australian Colonies, and beg to express our fervent wishes for your Royal Highness's safe return / to our mother country. / We have the privilege and honor, to subscribe ourselves your Royal Higness's most obedient and humble / servants. / On behalf of the Brigade / Charles Dunn, Captain Carl Franz, Lieutenant / R. Geilhofer, Hon. Secretary / Ballaarat, December, 1867ballarat fire brigade, queen victoria, his royal higness, the duke of edinburugh, december 1867, 1867, captain charles dunn, captain dunn, lieutenant carl franz, lieutenant franz, honourary secretary r geilhofer, his royal highness the duke of edinburugh