Hayley’s work intricately weaves multifaceted Indigenous feminine narratives, offering poignant reflections on identity, spirituality, and the human psyche, rooted deeply in her personal experiences and cultural identity. Centring on the nuanced psychological landscapes of Indigenous women, Hayley portrays their profound emotional and mental depth while exploring culturally influenced perspectives that honour their indomitable spirit and innate spirituality. Employing her conceptual and abstract artistic vision, Hayley utilises oblique storytelling techniques to challenge conventions and push boundaries in photography, collage, film, and video. Her work resonates with deep emotional intensity, inviting audiences on evocative and non-linear journeys of discovery and interpretation that unfold and evolve over time.In Life, In Death series australian photography, first nations photography, female photographer, identity, spirituality, first nations

One small portrait photograph of a female by Photographer Short & Co San Francisco Studio Sandhurst.Short & Cophotograph, portrait, female

One small sepia toned portrait photograph of a young female by Photographer Batchelder & Co Melbourne.Batchelder & Cophotograph, portrait, female

photograph, photography, photographer, female artist, australian artist, teenager, child, girl youth

Three small portrait photographs, 1 male 2 female by Photographer Tuttles Co Melbourne ,Sydney & Adelaide, written on back of 7923/1 in ink yours sincerely Robert.W.Greville.Tuttles Cophotograph, portrait, male & female

One small portrait photograph of a female by N.White Photographer Mitchell St Sandhurst opposite StPauls Tower.N.White.photograph, portrait, female

booknon-fictionPublished in Italy in 1979 exploring the theme of women and sexuality these diverse images reveal how women see themselves, their bodies and their changing roles, characterised by inventiveness, intimacy and sensuality.portraiture, body, colour photograpy, erotica

black and white photograph: laneway, brick building with windows with shutters, female figure walking towards photographer. Lane opposite School of Mines, running from Mc Crae St. to Howard Place, adjoining the Albert Hotel.place, laneway

Set of 8 negatives of X1 class tram on services on the Footscray operated routes. 1. B&W negative of tram X1 468 in Ballarat Road Footscray. Tram has destination Explosives Factory. Driver stepping down from cab and passenger walking from tram to kerb. 2. B&W negative of tram X1 468 in Ballarat Road at Gordon Street Footscray. Tram has destination Railway Station. Tram shelter shown in front of Powell Hotel. 3. B&W negative of tram X1 468 in Gordon Street Footscray. Tram has destination Railway Station. Tram is shown at corner of River Street on wrong side of road, so appears to be ready for shunting. 4. B&W negative of tram X1 468 at Ordnance Factory West Maribyrnong. Tram has destination Ordnance Factory. W2 454 is in background. 5. B&W negative of tram X1 468 in River Street Maidstone. Tram has destination Explosives Factory. The Maribyrnong Secondary College is in the left of the photo. 6. B&W negative of tram X1 468 in Cordite Avenue West Maribyrnong. Tram has destination Explosives Factory. Tram is shunting. 7. B&W negative of tram X1 468 in Somerville Road, Footscray. Tram has destination Russell St. Tram is shown with driver and female conductor posing for photographer. Note this one-man tram is being crewed by both a driver and conductor. 8. B&W negative of tram X1 468 at Ordnance Factory West Maribyrnong. Tram has destination Explosives Factory. 2nd unidentified Tram is shown in background. Female conductor walking the trolley pole around. NOTE: - dates are not as marked on some photo envelopes recorded below as the Footscray closed March 1961.Yields information about Footscray tram services operated by X1 468 during 1960.Set of 8 negatives in paper folders.1. Paper folder that contained the negative had "NR30A" written in red ink, "F9" written in pencil, "20A" written in blue ink, and date stamped 11 Jun 1960. On rear, dates stamped 26 Sep 1962 (twice). 2. Paper folder that contained the negative had "NR36A" written in red ink, "F8" in pencil, "26A" in blue ink, and date stamped 11 Jun 1960. On rear, dates stamped 26 Sep 1962 and 6 Oct 1962. 3. Paper folder that contained the negative had "NR47A" written in red ink, "F10" in pencil, "37A" in blue ink, and date stamped 23 Sep 1961. 4. Paper folder that contained the negative had "NR32A" written in red ink, "F14" in pencil, "22A" in blue ink, and date stamped 11 Jun 1960. On rear, dates stamped 26 Sep 1962 and 6 Oct 1962. 5. Paper folder that contained the negative had "NR54A" written in red ink, "F15" written in pencil, "44A" written in blue ink, and date stamped 28 Sep 1961. On rear, dates stamped 26 Sep 1962 and 6 Oct 1962. 6. Paper folder that contained the negative had "NR56A" written in red ink, "F13" in pencil, "46A" in blue ink, and date stamped 28 Sep 1961.2. 7. Paper folder that contained the negative had "NR64A" and "NR105A" written in red ink, "F11" in pencil, "64A" in green ink, and date stamped 1 Jan 1963. On rear, date stamped 26 Sep 1962. 8. Paper folder that contained the negative had "NR62A" written in red ink, "F12" in pencil, "52A" in blue ink, "damaged" in purple ink, and date stamped 11 Jun 1960.trams, tramways, x1 class, footscray, gordon st, ordnance factory, trolley poles, crews, drivers, conductors, tram 468, tram 454, conductresses, m&mtb uniform, ballarat road, somerville road, w2 class

Opening of Tennis Club Season at Cheltenham 1904. Among the members and visitors it is noted that Annette Kellerman a famous international film star is present. Photograph is black and white. There are two tennis courts in the foreground. Its is a large group photograph. It is a mix of men, woman and children. Some of the people in the photograph are holding tennis rackets, hats or tea cups. There is one known female is this photograph, in the front row, second from the left, as she is an international swimming film star -Annette Kellerman.Back of photo "Mr Fairlie Taylor (Addie Fairlair) 3 Sanley Av. . Chelt. if no one at back flat, please leave under Mr Stouts side door (Same address). attachment : Cheltenham Tennis Club / Opening Day 1904 / Members and Visitors / Annette Kellerman - Swimming Film Star - Front Row 2nd from left ( not opening of Club, but opening of tennis season)tennis club, opening day, cheltenham, season, kellerman annette, film stars, movies, swimming champions, musicals, theatres, california, hollywood, america,

This album was compiled by Florence M. Taylor who was the first women in Australia to be an architect, structural and civil engineer, town planner, and publisher. Florence was born in 1879 and died in 1969. Wikipedia: Florence Mary Taylor CBE (née Parsons; 29 December 1879 – 13 February 1969) was the first qualified female architect in Australia.[1] She was also the first woman in Australia to fly in a heavier-than-air craft in 1909[2] and the first female member of the UK's Institution of Structural Engineers in 1926.[3] However, she is best known for her role as publisher, editor and writer for the influential building industry trade journals established in 1907 with her husband George, which she ran and expanded after his death in 1928 until her retirement in 1961.[4] All photographs in this Album are attributed to J H Harvey (b1855, d1938), who was a well-known photographer, land surveyor and engineer. This album is significant because it contains photographs of East Gippsland, from Orbost to the NSW border. All photos were taken by J H Harvey in the early 20th century, and collected into this Album by Florence M Taylor who was Australia's first woman to be qualified as an architect and engineer. A grey covered album with gold lettering on the front and tied with cord along the spine. 8 pages with b/w photos. Some photos have been cut from the Album. All photos are labelled.on front cover: Through the county of Croagingolong, Victoria. Mrs F. M. Taylor.east gippsland, orbost, genoa, cann river, bellbird hotel, aboriginal camp, mallacoota, florence m taylor, snowy river bridge

Helena Francis Warren (nee McKeown) was married to William John Warren and lived in Newmerella. She was a fine amateur photographer who supplied the photos for the Back-To-Orbost celebration book in 1937 and also designed the Back-To-Orbost badge. She was known for her soft toy making. (by Ivy Rodwell in from Personalities and Stories of the Early Orbost District by Mary Gilbert)This item is an example of a handcrafted item and reflects the needlework skills of women in the first half of the 20th century.Two dolls - one male and one female - made of maize husks. They are both painted colourfully and are in a plastic box. There is a certificate from the country Women's Association for First prize in Basket Weave Handcrafts and Home Industries.doll handcraft toys maize cwa

Florence Tatham Mellblom (nee Henry) was a painter, naturalist and photographer. She was born at Portland, Victoria, and studied art in Ballarat. She was a talented etcher from childhood, and joined the Portland Camera club. She also produced many watercolour paintings of the historic places of Portland. She was married (1932) to Karl Enoch Mellblom.Image of a bluestone building to the back of the painting. Next to it is a smaller reddish building. In front of the building there is grass and shrubland. Trees are to either side of the buildings. The sky is blue with white clouds.Bottom left - F Mellblomfemale artists, female artist, women, portland shire, bluestone building

From Antiques Reporter: Florence Tatham Mellblom, (Australian, 1900 - 1983), Visit Portland The First Victorian Settlement, during the Centenary Celebrations from 15th to 23rd November 1934', 1934 colour lithograph, signed 'F. Mellblom' in image lower left, 63.5 x 101.5 cm. Linen-backed. Text continues in lower margin: 'Arbuckle, Waddell Pty Ltd Print, Melb.', Mellblom (nee Henry) was a painter, naturalist and photographer. She was born at Portland, Victoria, and studied art in Ballarat. She was a talented etcher from childhood, and joined the Portland Camera club. She also produced many watercolour paintings of the historic places of Portland. She was married (1932) to Karl Enoch Mellblom.A bluestone building on an arid landscape. Yellow grass in the foreground with one tree standing at the front. There is a blue sky behind. The left hand wing has a door which is slightly open. Above each wing is an engraved piece of stone. Left - Portland, right - Shire. An old rickety fence to the left of the building.Bottom Right - F. Mellblomfemale artist, women, female, landscape, portland landscape, portland shire

Florence Tatham Mellblom (nee Henry) was a painter, naturalist and photographer. She was born at Portland, Victoria, and studied art in Ballarat. She was a talented etcher from childhood, and joined the Portland Camera club. She also produced many watercolour paintings of the historic places of Portland. She was married (1932) to Karl Enoch Mellblom.Image depicts a bluestone building. In the foreground, to the front of the building is grass in shades of green and yellow. The building is in the middle of the image and has a reddish lower building to its right. There are trees either side of the buildings. Bottom left - F Mellblomfemale artists, female artist, women, portland shire, bluestone building

Photographed in the early 1900s, this black and white photograph depicts 25 members of the Mayday Hills Hospital Staff. Six men sit in front of the group (Mr Imhose stands fourth from the left in front row), upon the ground and behind them, in bright white clothing, sit eight female nurses upon a long bench (one of these nurses is identified on the rear as Miss A.J. Ross). Behind these women stand 10 men. The men are all wearing dark clothing and several have 'Kepi' style hats. The staff photograph was captured by Frazer and Vallance Photographers Melbourne. This image was originally combined with 1997.2491 but these images have since been torn apart and catalogued separately. 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. 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.Black and white rectangular photograph printed on photographic paper mounted on cardHandwriting reads: "Mental Hospital / Beechworth / Miss A. J. Ross / about 82 in 1944".mental asylum, beechworth, mayday hills, mayday hills hospital, victoria, mental health, history of mental illness, treatment of metal illness, asylum, hospital for mentally unwell, miss a.j. ross, nurse, staff, doctors

Photographed in the early 1900s, this black and white photograph depicts 25 members of the Mayday Hills Hospital Staff. Five men sit in front of the group, upon the ground and behind them, in bright white clothing, sit eight female nurses upon a long bench (one of these nurses is identified on the rear as Miss A.J. Ross). Behind these women stand 12 men. The men are all wearing dark clothing and several have 'Kepi' style hats. The staff photograph was captured by Frazer and Vallance Photographers Melbourne. This image was originally combined with 1997.2490 but these images have since been torn apart and catalogued separately. 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. 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.Black and white rectangular photograph printed on photographic paper mounted on cardFrazer & Vallance Photographers Melbournemental asylum, beechworth

Black and white photograph taken by Jack Eden of Sylvia Hoogeveen surfing at the 1965 Warrilla Championships. Hoogeveen is a goofy foot surfer riding an 8 foot plus longboard.Rare photograph of a female surfer competing at regional surfing contest in 1965. The photograph is part of a limited edition, collection of images created by noted Australia surf photographer Jack EdenBlack and white photograph by Jack Eden of Sylvia Hoogeveen riding a surfboard in 1965.Black and white framed photograph signed by Jack Eden (number 10) jack eden, sylvia hoogeveen, warrilla beach, 1965 warrilla championships

According to Sands & McDougall Melbourne Directory, Burman's were operating from 209 Bourke St. East and St George's Hall (73 Bourke St. East) from 1879-1885 CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 1, 1879-1885, 1880, burman's photographer 209 bourke st east and st georges hall melbourne, unknown, female shillinglaw 9

Photographer: A.W. Burman, Artist Photographer, 209 Bourke Street East, Melbourne According to Sands & McDougall Melbourne Directory, Arthur W. Burman was active 209 Bourke St East, Melbourne from 1878 to circa 1885-1890 CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991a.w. burman photographer 209 bourke st east, marg ball collection, shillinglaw family photo album 1, 1878-1885, 1885, female shillinglaw 9, unknown

Possibly mother and son No photographer details CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 1, unknown, 1875, female shillinglaw 9, male shillinglaw 10

The two women may be sisters (Kidd family) Duplicate image in Album 3 (05665) William Hall operated at 114 Brunswick St., Fitzroy, Victoria, between 1875-1886 (SLV and Sands directory) CABINET 1866-1905 The Cabinet photo was introduced in 1866 in answer to a demand for a larger format photograph which could be mounted for a cabinet or on the wall. They were 4.5 inches by 6.5 inches (11.5 x 16.5 cm), more than twice the size of the cdv. They cost about twice as much as a cdv but eventually displaced them. They were not extensively produced until 1880 and had ceased by 1905. Coloured mounts, especially maroon or green, indicate a date between 1880 and 1890. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 2, cabinet photo, 1875-1886, 1885, caroline fairlie stewart (nee kidd), female shillinglaw 2, house, kidd family, unknown, william hall photographer 114 brunswick street

Photographer Grant & Co. operated from 125 Swanston Street, melborune from 1891-1895 (Sands McDougall Melbourne Directory) CABINET 1866-1905 The Cabinet photo was introduced in 1866 in answer to a demand for a larger format photograph which could be mounted for a cabinet or on the wall. They were 4.5 inches by 6.5 inches (11.5 x 16.5 cm), more than twice the size of the cdv. They cost about twice as much as a cdv but eventually displaced them. They were not extensively produced until 1880 and had ceased by 1905. Coloured mounts, especially maroon or green, indicate a date between 1880 and 1890. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 19911891-1895, cabinet photo, female shillinglaw 3, grant & co photographers 125 swanston st melbourne, marg ball collection, shillinglaw family photo album 3, unknown, 1893

Stewart & Co operated from 217-219 Bourke St., East from 1877 to 1889 CABINET 1866-1905 The Cabinet photo was introduced in 1866 in answer to a demand for a larger format photograph which could be mounted for a cabinet or on the wall. They were 4.5 inches by 6.5 inches (11.5 x 16.5 cm), more than twice the size of the cdv. They cost about twice as much as a cdv but eventually displaced them. They were not extensively produced until 1880 and had ceased by 1905. Coloured mounts, especially maroon or green, indicate a date between 1880 and 1890. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991cabinet photo, marg ball collection, 1877-1889, 1889, female shillinglaw 3, shillinglaw family photo album 3, stewart & co photographers 217 & 219 bourke st east melbourne, unknown

Photographer W. Mason & Co. operated from 150 Bridge Road, Richmond from c.1893-c.1902 CABINET 1866-1905 The Cabinet photo was introduced in 1866 in answer to a demand for a larger format photograph which could be mounted for a cabinet or on the wall. They were 4.5 inches by 6.5 inches (11.5 x 16.5 cm), more than twice the size of the cdv. They cost about twice as much as a cdv but eventually displaced them. They were not extensively produced until 1880 and had ceased by 1905. Coloured mounts, especially maroon or green, indicate a date between 1880 and 1890. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991cabinet photo, marg ball collection, shillinglaw family photo album 3, 1900, female shillinglaw 10, w. mason & co. photographer 150 bridge rd melbourne, unknown, 1893-1902

child as yet to be identifiedThompson Collection Mina Moore photographer Mina Moore was an important Australian female photographer, for further information see: Australian Dictionary of Biography http://adb.anu.edu.au/biography/moore-minnie-louise-mina-7803 Please note there is a discrepency concerning dates on this site as to when Mina Moore's studio opened and the date on this photograph. I believe the photograph follows all descriptions of Moore's photographic conventions eg: type of mount card etc. Note signature Mina Moore on front of mount card, and stamped photography studio details on backStudio photograph mounted on cream card of female child (3 years) Front: Mina Moore (photographer, hand written). Inscription: Peggy at 3 years old. With love to her Godfather. May 1907 Back: Mina Moore Auditorium Building, Collins Street Melbourne Australia. Hand written in pencil: Green Be?lthompson collection, nightingale, mina moore

Four rows of male and female persons in formal attire photographed with brick building [probably church] in background. Biro caption Second Top Row Mum's Mother' and Top Row 'Auntie Carrie' not contemporary with photograph exposure. Probable WG Dahl connection. Stamped upon reverse, WH Dahl, 79 Lansdownie St, Blairgowrie, 3942, Phone 86641. W H Robinson, Photographer Mundy St Bendigo stamped upon reverse.W H Robinson Mundy St Bendigobendigo, history, w g dahl family

Standing group of school children with Golden Square State School? in background. Male teacher and two females in group. No caption. Fullarton printed upon reverse probably refers to professional photographer. Probable WG Dahl connection.bendigo, education, golden square primary school

W G Dahl series of nine photographs. Group photograph of mixed aged females dressed in white with suited males in foreground sitting on tarpaulin and against brick wall. Men and possibly ladies wearing labels. Possible label connection with Bendigo Miner's Association. W H Robinson, Bendigo photographer. Stamped W H Dahl, 79 Lansdowne Street, Blairgowrie, 3942, Phone 8861 on reverse not contemporary with photograph exposure. Biro ticked subject described in margin 'Second Top Row' Mum's Mother, possibly depicts W H Dahl grandmother. Front row males holding Gun Powder flask, .22 calibre single shot rifles, with muzzle loading pistol between feet of male second from left. Enlistment papers for William George Dahl. Dahl's had a hotel at Diamond Hill, Dahl's Hotel.bendigo, history, dahl family