224 pages, 19 pages of plates : illustrations (chiefly colour), colour facsimiles, colour portraits ; 27 cm.non-fiction“Abalone Pioneers is the Australian story of the divers, deckhands, researchers and processors who established and developed the zone's abalone industry. The book chronicles the amateur fisherman of the 1950s and the hazy crazy tribe of ‘scruffy longhairs’, who were attracted by the hedonistic lifestyle and fantastic profits in the 1960s, to the professional enterprise of today. It charts the development of the Victorian Western Abalone Divers Association and it role managing and protecting the Victorian Western Zone’s resources, and explores the successful diver-led commercial processors. Illustrated with over 100 historical photographs and featuring over 50 interviews, Abalone Pioneers is an exuberant and fascinating account of the establishment of one of Australia’s valuable but little-known fisheries.”--Back cover.western abalone divers association (victoria) -- history., divers -- victoria, western -- biography., abalone fisheries -- victoria, western -- history., abalone industry -- victoria, fishers -- victoria, abalones., fisheries -- victoria., sports &​ active outdoor recreation., local history., abalones -- victoria, western., abalone industry -- australia., deep diving., fisheries -- australia -- victoria., victoria, victoria., australian, book

Bob (Herman) Hymans (a former member of the Royal Netherlands Navy) was born in Bloemendaal, Holland on 30th September 1922. During World War II he fought against the Japanese in the Dutch East Indies (now Indonesia) and was imprisoned in Changi and on the Burma Railway. After gaining qualifications as a Ski Instructor, Bob arrived in Falls Creek in July 1950. Working as an Instructor and Supervisor at Bogong Lodge, Bob decided his future was in accommodation. He was successful in negotiating an indenture for land from the State Electricity Commission (SEC). It took Bob two years to build his Grand Coeur Chalet but, tragically, it was burned down in August 1961. Bob also built the first Chairlift in Australia. This was a single chairlift and the structure was built from wooden electricity poles. He was constantly full of new ideas and proposals for the village. Bob Hymans died on 7th July 2007. This Collection of documents and letters tells the story of Bob's endeavours to develop Falls Creek into the ski village it is today.This letter is significant because it reflects the relationship between Bob Hymans and the Management Committee.A handwritten letter from Bob Hymans notifying the Management Committee that he has appointed an architect for the redevelopment of Site 4. All correspondence was to be directed to J. Fisher in Camberwell, Victoriafalls creek tourist area management committee, chairlift site 3, bob hymans

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) 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) 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) .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, 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, 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

Photographs from Pollards (Lauriston), Warrandyte Road, Fishers (Greenhill) Mullum Mullum Road, Edna Lunt (nee Fisher).5-page printout and photocopied images compiled by Arthur Lunt, RDHS Archivist, Ringwood, Victoria, including Fisher and Pollard Family Trees. Photograph of house - Lauriston, with Joseph Pollard, wife - Emma Eliza Luscombe Pollard, and daughter - Ethel May Pollard. Photograph of picnic party with Alice Maud Mary Fisher "Mum" and Hugh Arthur Fisher "Dad". Title "Picnic in Victoria" (probably Warrandyte). NOTE: "Dad" and "Mum" were grandparents of Arthur Lunt (member of Ringwood Historical Society). +Additional Keywords: Pollard, Joseph / Pollard, Emma / Fisher / Luscombe / Gaskell.

This is a booklet of four poems about the Warrnambool area written and produced by Iris Fisher. The poems deal with aspects of Warrnambool, Allansford, Port Fairy and Koroit. Iris Fisher wrote the poems when she was living in Allansford. She lived for 18 years in Warrnambool and seven in Allansford and is the author of four other books of verse that tell of her life and thoughts in the Western District of Victoria. This book is of interest as it has been written by Iris Fisher who lived in the Warrnambool area for 25 years. The poems contain many references to the history of the four places – Warrnambool, Port Fairy, Koroit and Allansford. This is a small soft cover booklet of 26 pages. It has a mauve-coloured cover with an image of Childers Cove before the Sentinel rock was washed away. The cover printing is a dark red colour. The booklet contains four printed poems and black and white photographs of scenes and people of the Allansford/Warrnambool area. Mostly the illustrations are of an historic nature. The poems are dedicated to ‘Life in the Warrnambool Area’. The booklet is bound with staples.Front Cover: ‘Rhythmns (sic) of the Western District by Iris Fisher’ Inside front cover: ‘10/7/03 To Graeme and Barbara Best Wishes Iris’ allansford, port fairy, koroit, warrnambool, iris fisher

Stained glass window, south wall, main nave (adjacent to the pulpit). The window is a pictorial representation of St Andrew who live to old age. There is a tradition that on being sentenced to death, he requested that he be crucified on a saltire (diagonal cross, see base of window) as he felt unworthy to be crucified on the vertical cross of Christ. Another symbol of association with St Andrew is the fishing net.The Rev. Andrew Peacock, Archdeacon of the Otways, was the fourth Vicar (1906-1912) of the Parish of Warrnambool. He was highly regarded throughout the community and died following a very short illness. His brother, Sir Alexander Peacock, three times premier of Victoria, officially unveiled a tablet on the north-west corner of the Parish Hall complex on Saturday 25th April and attended the dedication of the memorial window on Sunday 26th April 1913. Rev AE Peacock is buried at Creswick cemetery, Victoria.

During winter skiers skied on the Bogong High Plains. During the 1940's the State Electricity Commission of Victoria was constructing the Kiewa Hydro Electric Scheme and skiing was part of their employees recreation. Skippy St Elmo won ski races during the 1940's practising on the High Plains where she and her husband lived. Her husband worked for the S.E.C.V..Employees of the State Electricity Commission of Victoria were early skiers on the Bogong High Plains. The area is a well known tourist centre for skiers, bush walkers and bike riders.Black and cream photo glued onto thick cardboard with a label glued on at the bottom.L to R Wally Baldwin, Joyce Fisher, Dick Moore, / Chas Armada, Skippy St Elmo, Toni St Elmo / August 1946snow skiers; bogong high plains; state electricity commission of victoria; kiewa hydro electric scheme; skippy st elmo

In 1906 and 1907, students were taught to write with the letters joined. To achieve this booklets were designed to enable the student to copy the example and to repeat this, often to gain perfection. A student could be practising his/her writing while the teacher attended to other students and/or classes.Oliver Fisher lived at Mongan's Bridge a small, remote, rural area in the Kiewa Valley.Soft covered small booklet - grubby blue on back and very faded 'blue' on front with black writing. Held together with 2 staples. "For Tracing with lead pencil or pen. / Introductory Book, Price One penny" Writing surrounded by fancy graphics. Border is thick but not solid black line.Inside book letters have been copied but joined up to practice writing eg. m m m and then mu mu mu Each page is different. On some pages the date has been writteneducation, writing, mongan's bridge, oliver fisher, school

Zilles Printers was begun by Lewis Zilles in the early 1930s. It was in McKenzie Street Ballarat. His son Jeffrey also became a printer - letterpress, offset and screen printer. The business became Zilles Printers/Graphics and was in Armstrong Street and later Bell Street Ballarat. A form of sticker began in 1839 when Sir Rowland Hill invented adhesive paper. The first self-adhesive label was invented in 1935 by Stanton Avery - Avery Labels. The sticker was used on the bats as advertisement. Terry Davies was one of the top batsmen in Ballarat during the 1970s. He played from 1971-71 to 1982-83, a total of 151 games. He captained Ballarat in Melbourne Country Week as well as being Captain-Coach of the club. Terry was named in the Northern Roosters Cricket Club Legends Team of the Century 1920-2000.Cream colour card backing a clear sticker with black print.Name of bat and name of maker TD. - Emu Cricket Bats, handcrafted from finest Australian Fisher Willow. Terry Davies, Ballarat Victoria.zilles printers, ballarat, sir rowland hill, adhesive paper, santo avery, avery labels, self-adhesive label, terry davies, batsman, melbourne country week, northern roosters cricket club, legends team of the century 1920-2000

This is a photograph of Annabella McKenzie who trained at The Royal Melbourne in the 1890's. The Royal Melbourne Hospital was the first hospital in Victoria – established in 1848 to serve the young and thriving community of Melbourne. Prior to the transfer of nursing education to the university sector, nurses were trained in a course of instruction in hospital nursing schools that awarded a certificate in general nursing. These courses were generally for a three-year period, and nurses were paid employees of the parent hospital. Annabella Mckenzie Fisher was born into the Mckenzie family and married into the Fisher family. She married Fisher James Fisher, a Lochend farmer.The Fisher family was a very early Orbost farming family.A hand-coloured photograph in an oval shaped wooden frame. It is of a woman in a nurse's uniform of a dark coloured dress with a white bib apron and black belt. The cuffs of the long sleeved dress are white. She is wearing a white cap. The oval frame is painted gold and is decorated on each side with flowers in relief.On back in pencil - Anna Bella McKenziehealth nursing fisher_annabella-mckenzie royal-melbourne-hospital

Mr Carl Otto (Clyde) Drevermann was born at Lucknow and worked in various parts of Victoria before coming to Orbost in about 1902. In July 1902 he entered into partnership with Mr Edward Fisher Reynolds and the ironmongery, hardware and tinsmithing business was carried on by the new firm as Drevermann and Reynolds. In about 1905 Mr Drevermann assumed proprietorship and the tinsmith and plumbing section of the business was sold off to Mr Edward Swan. The ironmongery, hardware and timber business was known as Carl Dreverman & Co until 1917 when it was changed to Orbost Hardware and Timber Co. This shop had a row of nails on the window sill to prevent people sitting on the ledge. 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 book-keeping of an early 20th century Orbost business and is a useful research tool. A white paper account with red lines and black print. Details are hand-written. It is from Carl Drevermann, Furnishings and General Ironmongers, to R. Cameron.

Mr Carl Otto (Clyde) Drevermann was born at Lucknow and worked in various parts of Victoria before coming to Orbost in about 1902. In July 1902 he entered into partnership with Mr Edward Fisher Reynolds and the ironmongery, hardware and tinsmithing business was carried on by the new firm as Drevermann and Reynolds. In about 1905 Mr Drevermann assumed proprietorship and the tinsmith and plumbing section of the business was sold off to Mr Edward Swan. The ironmongery, hardware and timber business was known as Carl Dreverman & Co until 1917 when it was changed to Orbost Hardware and Timber Co. This shop had a row of nails on the window sill to prevent people sitting on the ledge. Carl Drevermann was a prominent Orbost identity and the Drevermann family owned the current Orbost Hardware Store for many years. Clyde [Carl] Drevermann died on 15/11/1946 aged 72. He was born in Lucknow and went into partnership with E P Reynolds on 9/8/1902 in Orbost selling furnishings, general ironmongery, furniture and tinsmith items. This partnership did not last long as on 6/9/1902 the shop then operated as Carl Drevermann & Co. later to become the Orbost Hardware & Timber Co. Mr Reynolds relocated the tinsmith part of the business to a new address. Mr Drevermann was a keen motorist and promoter of East Gippsland during the time when motor tourism was in its infancy. ( Lindsay and Noreen Thomson)A small white paper order form. It has black print an details are hand-written.drevermann-carl order-form-book-keeping

This stencil was used to mark bags of dried bean seed, in this case Brown Beauty bean seeds, produced by farmers in the Orbost district and clean and bagged by Fisher Bros., seed bean merchants of Orbost. This stencil is significant because it was specially made for the seed bean industry which was a major industry in the Orbost district for the first half of the 20th century. A galvanised iron sheet from which words have been cut out to form a stencil. BROWN BEAUTY BEANS 1948 CROP PRODUCE OF AUSTRALIA SOUND, CLEAN, FRESH ORBOST, VICTORIA, AUSTRALIA PACKED FOR LAMBERT OVERSEAS PTY LTDseed-beans bag-stencil farming

Joan Kirner was Deputy Premier and Minister for Education in Victoria. Joan Kirner (Hood) taught at Ballarat Girls' Technical School.Typed A4 page on Ministry of Education Letterhead. Signed by Joan E. Kirnereducation, minster for education, joan kirner, deputy premier, letterhead, margaret evans, ocean grove, barwon heads, primary school, marj fisher, joan hood, ballarat girls' technical school

Digital images of the Ballarat section of the Cyclopedia of Victoria, 1904cyclopedia of victoria, ballarat, ballarat benevolent asylum, john adam, gold discovery, lake wendouree, boat house, sailing, eureka stockade, ballarat botanical gardens, statuary, statues, ballarat school of mines, ballarat town hall, sturt street, shoppee square ballarat, ballarat mecahanics' institute, ballarat hospital, henry cuthbert, charles collett shoppee, john murray, richard greenwood middleton, john m. kline, john ritchie, thomas stoddart, william little, john robson, hugh v. mckay, h.v. mckay, n. clark, a. h. powell, r.j. powell, edward shaw, charles j. reid, frederick g. haymes, james thomas mitchell, robert scott, frane longden, robert d. pinnock, thomas a. wilson, sydney b. fisher, david bartholomew, t.r. treloar, s-ray, w. cornell, alexander greenfield, andrew callow, victorian mounted rifles, s.g. valentine, andrew scott, thomas robertson, john gordon robertspm, w.t. rowe, thomas a. oddie, william morris, jospeh walshe, william acheson, joseph dill, william mason, llanberis no 1, anthony jenkin, james carey, wlliam emery, percy kent, henry bath, j. rowe, john couttie, william sansom, francis coote, john mckenna, robert ditchburn, thomas mitchell, john daniel, george williams, william treloar, r.b. squire, jonah ward, robert smyth, william bell, thomas couper, w. joseph, william wallace, benjamin dowling, robert crawford, alexander aikens, c. dennison, w.f. coltman, federal timber yard, george hotel, williaim dones, j. dreaden, richard's and co, j.a. gear, r.w. fleming, l.e. cutter, l.s. cutter, a.e. cutter, c.f. cutter, george anderson, w.e. longhurst, christopher howlett, david mcgrath, james wishart, f.g. reeve, eureka iron works, j.e. cowley, albert foundry, john robert harrison, j.b. cameron, p.b. sutherland, george richards, ballarat brass foundry, m.b. john, morgan john, m.w.b. john, james smith, w.p. davies, j.t. vercoe, james kelly, williaim osbourne, alexander mcdonald, alexander e. mcdonald, henry john symons, bridge street flood

Beverley, daughter of Padre Oliver, married Robin Kent on Tuesday 20 April 1954. The ceremony was held in the St Peter Chapel. The Bridesmaids were Rachel Dowel, Dorothy (Dot) Veitch and Ailsa Halliday. Best man was Rodney Oliver, Beverley's brother, David Fisher and Reverend W.R Dowel were groomsmen. The reception was held at Berkeley Hall, St Kilda.Written in blue ink: names of the persons on photo Stamp of photography studiobeverley kent nee oliver, robin kent, st peter chapel, weddings, marriages, rachel dowel, dorothy veitch, ailsa hallliday, john rodney oliver (1931-2010), david fisher, berkeley hall, st kilda

The Diamond Creek in flood near the Main Road bridge at Eltham, Victoria. The Yarra also was in flood. In early December 1934 the "Greatest flood in the history of the Yarra" occured, according to The Argus newspaper. Bridges and houses were swept away with hundreds of people left homeless across the state. The historic 1934 flood of the Diamond Creek and Yarra River set the criteria for future planning with respect to flood water rise. Noted on reverse of print - Copied by Hugh Fisher, 82 Lygon St., BrunswickThis photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg (2 frames on one neg) Print 9 x 15.5 cmOn reverse of print - "Copied by Hugh Fisher, 82 Lygon St., Brunswick" (for Shire of Eltham)sepp, shire of eltham pioneers photograph collection, eltham, floods, 1934 flood, diamond creek (creek), floodwater

non-fictionThis war diary distils the major military events of recent Australian history from 1870 the the present day.war - press coverage - australia, australia - social life and customs - history