Showing 57 items
matching infant death
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Clunes Museum
Photograph, A.C. Gerard, 1897
... Infant death...Weickhardt Infant death On front; Hans Christian Leopold ...Sepia photograph of a deceased child On front; Hans Christian Leopold Weickhardt aged 14 months On reverse; Carl Jacob Weickhardt and Christina Marie Jorgensen, Hans Christian Leopold Weickhardt Died 2nd June 1897 aged 14 months at Northam, W.A. weickhardt, infant death -
Port Melbourne Historical & Preservation Society
Photograph - Ferry, Abel Tasman loading at Inner East Station Pier, Port Melbourne, c. 1990
... Tasman, denoting 'Red Nose Day', fund raiser for Sudden Infant... 'Red Nose Day', fund raiser for Sudden Infant Death Syndrome ...Colour photograph of Abel Tasman loading at Inner East Station Pier. In the background is the foreshore and building between Prines and Bay Streets before the onslaught of high risers in Port Melbourne. Note the red nose on the forecastle of Abel Tasman, denoting 'Red Nose Day', fund raiser for Sudden Infant Death Syndrome Research.piers and wharves - station pier, transport - ferries, charities and appeals, alison kelly, abel tasman -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Talbot Milk Supply milk bottle
... uncontaminated milk to needy families, since many infant deaths... free uncontaminated milk to needy families, since many infant ...This style of milk bottle began to appear in Australia in the 1930s. The number stamped on the base indicated the dairy to which the bottle belonged. Nursery milk had a higher guaranteed fat content than ordinary milk. Lady Talbot, the wife of a Victorian Governor, was associated with the movement that was to become the Free Kindergarten Union in 1908. The Talbot Milk Institute was associated with the Union. It provided free uncontaminated milk to needy families, since many infant deaths and illnesses were traceable to unsuitable or adulterated food. A wide necked milk bottle made of clear glass. Embossed in an arc on the front of the bottle: 'Lady Talbot Milk Supply Co. Specially supervised nursery milk.' Also embossed on base: '62'.infant feeding -
Eltham District Historical Society Inc
Photograph, Eltham Cemetery Trust, Grave of Michael and Bridget Cecilia Dillon, Eltham Cemetery, Victoria, 4 May 2016
... ). Following husband Hamilton Drain’s death in 1886, and her infant... husband Hamilton Drain’s death in 1886, and her infant daughter ...Bridget was the daughter of John Wright MURRAY(1816-1867) and Mary SWEENEY(1833-1909). She married Hamilton DRAIN(1847-1886) in 1884 and they had a daughter, Mary Ellen DRAIN(1886-1888). Following husband Hamilton Drain’s death in 1886, and her infant daughter Mary’s death in 1888, Bridget married Michael Dillon in 1894. It appears that she and Michael had no children together. Electoral roll records indicate that Michael was a farmer and that he and Bridget lived in Research, Vic. Some damage has occurred to their monument and the Eltham Cemetery Trust would like to locate a next of kin or family member. Unfortunately, there was no purchase information recorded, only the following details; no next of kin. Deceased Location Date of Death Interment Date Michael Dillon Roman Catholic 205 10/12/1916 11/12/1916 Bridget Cecilia Dillon Roman Catholic 206 7/04/1927 19/04/1927 The photo of the headstone is dated 4 May 2016, which provides the best detail of the inscription.The headstone has deteriorated further in the last few years. In Loving Memory of Michael Dillon Died 10th Dec. 1916 Aged 65 years Also Bridget Cecilia Wife of the above Died 17th April 1927 Aged 78 years R.I.PBorn Digitaleltham cemetery, gravestones, michael dillon, bridget cecilia dillon (nee sweeeney) -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Document - Medical Health, vaccination notice, Martha Jones, c1888
The loss of life from infectious diseases such as Typhoid in the pioneer settlements of Australia, was very high Hence the free, compulsory vaccination of infants within 6 months of their birth. This Notice To Parents was sent by the Deputy Registrar of Births and Deaths in District of East Brighton , now known as Bentleigh. The notice states that all Public Vaccinators ‘ are supplied with Calf lymph. Parents can chose which Lymph they prefer”James Jones and Mary Ann Moore were born in Brighton c1857 and c 1859 into pioneer market gardener families in the area of the Dendy Special Survey of 1841. They married in 1883 and raised their family in East Brighton, now Bentleigh. Sadly infectious diseases took the lives of many infants throughout the Colony of Victoria due to the poor state of water supply and sewerage disposal and locally the swamps of the Elster Creek were a constant breeding ground. An original paper Notice To Parents for the Compulsory Vaccination Act , First Schedule, 13th August 1888 following the registration of the birth of Martha Jones to James and Mary Ann Jones in Brighton Victoria.A / COMPULSORY VACCINATION ACT – FIRST SCHEDULE / Section 17 / NOTICE TO PARENTS. Typed along left side “ (N.B. All Public Vaccinators are supplied with Calf Lymph. Parents can chose which Lymph they prefer)” This paper notice naming the child Martha Jones is signed and dated by the Deputy Registrar of Births and Deaths of the District of East Brighton , W. Ward, on 13th August 1888, and gives the dates and times he will be in attendance ‘ at his residence’ for the said vaccination. vaccination, pioneers, early settlers, typhoid, brighton, moorabbin, bentleigh, market gardeners, fruit gardens, jones james, jones mary ann, jones martha, dendy henry, dendys special survey 1841, infectious diseases, water supply, elster creek, melbourne -
Greensborough Historical Society
Newspaper Clipping, The Weekly Review, Maternal and child health 100 years' celebration, 05/07/2017
Biographical notes on Infant Welfare Sister Alma Brown, who lived and worked in Greensborough. She was also passionate about protecting the natural environment. After her death, her property was established as Brown's Nature Reserve to stop development of the area.News article, black and red print, sepia photographalma brown, browns nature reserve greensborough -
Blacksmith's Cottage and Forge
Brush and Comb. Baby
Baby brush and comb sets were often given as Christening presents. The pure bristles were especially soft for use on infant's hair. Children's hair is often a problem because it is supremely fine and may be difficult to care for because of its nearly downy softness and fluffiness. Up until the age of 7-10, this fine hair will remain about the head. Children’s hair is different from adult hair in texture, density, and likely also colour, body and so on. Hair's traits change over time as humans physically develop, and even age. Like the rest of the human body, (example, teeth), hair has different stages of development spanning the full lifetime from birth to death. Source: www.wikipedia.org Infants' brush made of cream bakelite and pure bristle. Comb made of cream bakelite . Inscription in silver "Baby".Written in silver script, the word "Baby". Indentations on comb.child, and, nursery, bakelite, infant, grooming, brush, comb, pure, bristles, soft, mother, toiletries -
Kew Historical Society Inc
Clothing - Silk Organza Wedding Dress, Oggi Fashion House, 1971
Fashion by Oggi, as the sign above the door proclaimed, was located at the Paris End of Collins Street, on the south side, virtually opposite Lilian Weightman’s Le Louvre boutique. Janet Brock, who at the time was working in the Central Business District of Melbourne, had stopped to admire a mauve version of the dress that was displayed in the window, and, on making inquiries from the proprietress, ordered a made-to-measure cream-coloured copy. Her marriage occurred shortly after the death of her father, and took place on 18 December 1971 at the Kew Presbyterian Church in Cotham Road, where the Rev. Peter Mackie was the celebrant. The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Wedding dress, purchased by Janet Elizabeth Brock in December 1971 from Oggi of Collins Street. The wedding dress, reaching just below the knee, is lined in silk with a double outer layer of organza. The striking decoration of the monochromatic cream dress is achieved through the use of wide ruffled organza frills at the neck, on the sleeves and at the flared hem of the dress. The dress has a discrete v-neckline with small, self-covered buttons at centre front. At the back, the dress is closed with a nylon zip. In addition to the elaborate stiffened frills, the dress features a wide fabric belt with a double bow, worn at the front. oggi - 103-105 collins street - melbourne (vic), women's clothing, wedding dresses, janet (brock) walker, australian fashion - 1970s -
Ringwood and District Historical Society
Article, Ringwood State School - Daisy Paddock - Retirement 1961, Lilian Horner Prize 1957, Death 1974
Newspaper cuttings and photographsRingwood Mail December 14, 1961 - Retirement of Miss Daisy Paddock - Infant Mistress. Ringwood Mail May 29, 1941 - Farewell to Miss Paddock. Ringwood Mail - Ringwood acclaims the best infant mistress. Ringwood Mail August, 1974 - Ringwood loses a respected resident. The Sun March 9, 1957- She's Victoria's best infant teacher. Photograph- Miss Daisy Paddock with the Lilian Horner prize. -
Flagstaff Hill Maritime Museum and Village
Domestic object - Baby Feeding Bottle, Allen & Handbury's, 1891-1920
Allen & Hanburys was founded in 1715 in Old Plough Court, Lombard Street, London, by Silvanus Bevan, a Welshman, apothecary, and a Quaker. Bevan and his brother, Timothy, who became his partner and later succeeded him, were known for their just dealings and the integrity and quality of their drugs. The company grew into a respected pharmaceutical center and had established a strong reputation with American doctors by the late 18th century. William Allen, FRS, also a Quaker, and well-known scientist, joined the firm in 1792 and rose quickly to become the dominant personality. His second wife was a member of the Hanbury family who had produced several learned scientists. On Allen's death, the Hanbury family assumed control of the company. The growth of the company was continuous, but it was in the second part of the 19th century that developments on a large scale took place. Factories were built at Ware, Hertfordshire, and Bethnal Green in East London. The factory at Ware specialised in infants' foods, dietetic products, medicated pastilles, malt preparations as well as galenical preparations, beginning production in 1892. The brands included Allenburys Nº1 and Nº2 foods (essentially milk foods for babies up to six months), and Allenburys Nº 3 (malted farinaceous food, six months and older). Allenburys Rusks was a suitable first solid food for infants. Allenburys claimed to be pioneers in Great Britain in the production of pastilles, and thus the Ware factory also produced Allenburys Glycerine and Black Currant Pastilles, amongst another 80 different kinds of medicated and crystallised pastilles. Allen and Hanburys were one of the first manufacturers of cod liver oil in Great Britain, and owned factories in the Lofoten Islands (Norway) as well as at Hull and Aberdeen taking cod directly from the North Sea. The Bethnal Green factory carried much of the administrative and scientific side of the business, which included research, analytical control, chemistry, pharmacy, and pharmacology. In this plant, galenical preparations, pills, tablets, capsules, and other classes of pharmaceutical and medical goods were prepared. The company had overseas branches in Lindsay, Ontario, Durban, India, Shanghai, Australia, and Buenos Aires, and agencies in many other countries. The company address was for many years at 37 Lombard Street, London EC. Allen and Hanburys Ltd were absorbed by Glaxo Laboratories in 1958 under the name Glaxo Smith Kline, the company, used the Allen and Hanburys name for the specialist respiratory division until it was phased out in 2013.An early baby feeding bottle was made by the Allen & Hanburys company between 1891 to around 1920. The item is significant as it was used to feed babies the new manufactured baby milk formula's made by Allen & Hanburys that were gaining in popularity towards the end of the Victorian era.Baby feeding bottle clear glass curved with flat bottom and measuring scale, teat opening at one end and filling hole without stopper at the other end.Allenburys Feeder AD 1715warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, baby feeding bottle, bottle, domestic object -
Tarnagulla History Archive
Registration of Death form, 1872
A large lot of papers, including this and other birth, death and burial records, were apparently found in the ceiling cavity of the Sandy Creek/Tarnagulla Post and Telegraph Office in the later 20th Century, during building works. Donald Clark Collection. Registration of Death form. Name of deceased: section missing (probably infant Francis David, known from birth form THA-2019.0811) Father of deceased: Benjamin David Mother of deceased: Rosena Henriette (?) D___ Cooper Deceased born at: Llanelly Date of burial: 3 September, 1872 Place of burial: Tarnagulla -
Whitehorse Historical Society Inc.
Document, Rose McClare, 01/01/1872
Copy of register of Deaths entry for Rose McClare, 30 Dec 1871.Copy of register of Deaths entry for Rose McClare, 30 Dec 1871, infant daughter of Jon and Mary McClare.Copy of register of Deaths entry for Rose McClare, 30 Dec 1871. mcclare, rose -
Whitehorse Historical Society Inc.
Domestic object - Child's Plate and Saucer
Used by Mrs. Beryl Gray and her brothers as children. Kept by Mrs. Grays's mother until; her death in 1977.China child's plate and saucer with animals around border. Cup missing.domestic items, infants -
Whitehorse Historical Society Inc.
Domestic object - Child's plate
Used by Mrs. Beryl Gray as a child and also by her brothers. Kept by Mrs. Gray's mother until her death in 1977.White enameled metal plate with black letters of the alphabet around the border and clock face on centre of dish. Used for childrens meals.domestic items, infants -
Glen Eira Historical Society
Article - GLEN HUNTLY (HISTORY OF)
This file contains 10 items about the history of Glen Huntly: 1/6 photocopied pages from ‘The History of St Kilda’ which relates to the place name Glen Huntly, and the Quarantine graves, date unknown. 2/2 photocopied pages from the ‘Sun Pictorial’ dated 13/4/1928 and 12/4/1928; relating to the state of the graves at Point Ormond and their re-internment to St Kilda Cemetery. 3/1 pen and ink sketch of graves at Point Ormond from the State Library Victoria. 4/3 pages taken from a website on the re-internment of graves and some social history as to the reason that the new emigrants were coming to Australia. The Article also has 7 photographs. 5/2 newspaper articles on the ‘Glen Huntly’ descendants forthcoming reunion being held on 21&22/4/1990. 6/1 article reprinted from newsletter no. 22 October 1983 on the barque ‘Glen Huntly’. Also details of passengers who died and the burial of 3 at Point Ormond. 7/1 handwritten document (unattributed) taken from ‘Migrant ships for South Australia 1836-1850’ by Ronald Parsons. 8/1 pamphlet commemorating the 150th anniversary of the ‘Glen Huntly’ arriving in Melbourne. It gives information about the ship, passengers, memorial in St Kilda Cemetery and upcoming descendants’ reunion. 9/1 program of commemoration events 21&22/4/1990. 10/1 piece of art work for a ‘Welcome to Glen Huntly’ sign, featuring a ship. Undated, unattributed and source unknown.‘glen huntly’, buchanan captain, fever ship, emigrants, cummins ann, st kilda cemetery, bowman mrs, caulfield, craig john, cameron miss, mcgonagle mrs, elsternwick, armstrong george, mathers james, the glen huntly pioneers memorial, jones alfred ramsey, st david’s uniting church (grange road), glen huntly, glen huntly road, lake street, glen huntly state school, glen huntly presbyterian church, south caulfield, mernda avenue, garden avenue, grange road, jenkin (boss) william, wattle avenue, chinese joss-house, smith a.w, glen huntly post office, foundation stones, king f.l, methodist church, trinity congregational church, greek orthodox church, salvation army temple, wanalta road, st anthony’s roman catholic church, st agnes’ anglican church, booran road, st david’s uniting church, el nido grove, manses, royal avenue, munster avenue, james street, rothschild street, neerim road, organs, peace memorial organ, railways, marara road, curraweena road, booran road, bambra road, rosstown railway, murray-ross william, leila road, murray-ross leila, ‘the grange’, north road, wild cherry road, ‘rosstown’, picture theatres, manchester grove, aerodrome, lord reserve, neville street, lyons street, morgan street, rosedale avenue, rifle clubs, glen huntly infant welfare centre, watson grove, rowlands drapery, drapers, bones plant nursery, nurseries, elsternwick railway station, railway stations, kooyong road, glen eira road, truganini road, rosstown sugar works, ross murray, street names, typhoid, diseases, death and dying -
Eltham District Historical Society Inc
Card - Card and Envelope, Wisteria blossoms, Kameido, Tokyo, c.1920s
The outer envelope is addressed Mr E. Fielding which is believed to be Richard Edward (Eddie) Fielding. It is understood from Tom Fielding, that this item was collected by his Uncle Bill Teagle when visiting Japan in the 1920s whilst serving in the Navy. It is further understood that Bill always made efforts to collect souvenirs from his travels to give to family members. William George Teagle, more commonly known as Bill, was born 2 August 1899 at Sandringham, Victoria. Bill, a milk carter first attempted to enslist in the AIF in October 1917 but was rejected on the grounds of being too small. On a second attempt he was successful and his application was accepted 1 June 1918. He embarked in November 1918 for overseas with the 17th Reinforcements. He was discharged a year later in December 1918. On 6 May 1919 he enlisted in the Royal Australian Navy for a period of 7 years service with the rank of Stoker however he remained with the navy throughout till the end of the Second World War, and was finally discharged 14 November 1945 with the rank of Petty Officer. This item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: Fire in the middle of rain, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: The situation is miserable, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Eltham District Historical Society Inc
Photograph - Postcard, Geisha Sakae looking into a mirror applying makeup, c.1905 to c.1920s
The text on reverse translates Kikaha toilet department. There is also the printed image of a swallow on the back, which suggests that it was taken by the S. N. Banshiudo Studio in Shiba Park, Tokyo. Geisha Sakae was an extremely popular postcard model shortly after the Russo-Japanese war 1904-05, people used to line up early in the morning whenever a new postcard was released at the postcard shop in Ginza. The beauty of her gait was so widely admired that her walk inspired many of the leading Onnagata (male Kabuki actors in female roles) of the day. She went on to marry Ichikawa Sadanji II, one of the most popular Kabuki actors in Japan, who worked hard to promote new plays and revive long-forgotten classical dramas. [Ref: https://www.flickr.com/photos/blue_ruin_1/8448420741] During the Russo-Japanese War (1904–05), the Japanese government sent postcards of beautiful Japanese women, bijin ehagaki (美人絵葉書), to soldiers to motivate them. Publishers continued to print them well into the 1920s. [Ref: Duits, Kjeld (February 21, 2022). 1910s: Geisha Postcards, OLD PHOTOS of JAPAN. Retrieved on March 31, 2024 (GMT) from https://www.oldphotosjapan.com/photos/883/vintage-geisha-postcards-early-20th-century] See also: Sakae さかえ - Meiji / Taishō Era Geisha https://www.flickr.com/groups/1988804@N22/pool/ The photochrom process Photochroms are not photographs but actual prints, produced using 6 to 15 colors and the lithography printing process. The technique was invented by the Swiss Hans Jakob Schmid during the 1880s. The fascinating aspect of these prints is that they are created from black and white photographs. It required quite some work and talent to create these images. The photographer would usually make notes about the colors in the image he shot. These enabled a painter to create a painting that served as a color guide for the litho stone maker. This artisan would then create multiple exposures of the original black-and-white negative, changing the exposure time, development settings, and using dodge and burn techniques to create the required set of 6 to 15 stones that would each be used to print one specific color. By combining all these colors you get the prints [Ref: https://www.prepressure.com/printing/history/photochrome-prints]This item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, geisha sakae, japanese postcard, postcard -
Eltham District Historical Society Inc
Photograph - Postcard, Geisha Sakae holding an Ichimatsu Doll, c.1905 to c.1920s
The text on reverse translates to Kikaha toilet department. There is also the printed image of a swallow on the back, which suggests that it was taken by the S. N. Banshiudo Studio in Shiba Park, Tokyo. Geisha Sakae was an extremely popular postcard model shortly after the Russo-Japanese war 1904-05, people used to line up early in the morning whenever a new postcard was released at the postcard shop in Ginza. The beauty of her gait was so widely admired that her walk inspired many of the leading Onnagata (male Kabuki actors in female roles) of the day. She went on to marry Ichikawa Sadanji II, one of the most popular Kabuki actors in Japan, who worked hard to promote new plays and revive long-forgotten classical dramas. [Ref: https://www.flickr.com/photos/blue_ruin_1/8448420741] During the Russo-Japanese War (1904–05), the Japanese government sent postcards of beautiful Japanese women, bijin ehagaki (美人絵葉書), to soldiers to motivate them. Publishers continued to print them well into the 1920s. [Ref: Duits, Kjeld (February 21, 2022). 1910s: Geisha Postcards, OLD PHOTOS of JAPAN. Retrieved on March 31, 2024 (GMT) from https://www.oldphotosjapan.com/photos/883/vintage-geisha-postcards-early-20th-century] See also: Sakae さかえ - Meiji / Taishō Era Geisha https://www.flickr.com/groups/1988804@N22/pool/ The photochrom process Photochroms are not photographs but actual prints, produced using 6 to 15 colors and the lithography printing process. The technique was invented by the Swiss Hans Jakob Schmid during the 1880s. The fascinating aspect of these prints is that they are created from black and white photographs. It required quite some work and talent to create these images. The photographer would usually make notes about the colors in the image he shot. These enabled a painter to create a painting that served as a color guide for the litho stone maker. This artisan would then create multiple exposures of the original black-and-white negative, changing the exposure time, development settings, and using dodge and burn techniques to create the required set of 6 to 15 stones that would each be used to print one specific color. By combining all these colors you get the prints [Ref: https://www.prepressure.com/printing/history/photochrome-prints]This item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, geisha sakae, japanese postcard, postcard -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Weighing scales used by Dr Mitchell Henry O'Sullivan
Scales like these were used to weigh babies.Dr Mitchell Henry O'Sullivan worked in the Victorian country town of Casterton as a general practitioner from 1919 until his death in 1977. He also practiced obstetrics. His son, Dr David More O'Sullivan donated the obstetric bag and its contents to the College in 1999. The gladstone bag and contents are a unique time capsule of the type of instruments and pharmaceuticals used in the inter-war period. Set of small, portable spring balance scales. With case/enclosure.infant care -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Simpson's cranioclast used by Dr Mitchell Henry O'Sullivan
Prior to the 1900s, complicated births, particularly where there was a disproportion between the size of the woman’s pelvis and the foetus’ head, often meant the death of the baby and the mother. Instruments for removing a dead or ailing foetus from within the mother were used to attempt to save the mother’s life. The cranioclast, first invented by Dr. James Simpson in the mid-19th century and later redesigned by others, was used for fetal destruction and removal. Fundamentally a strong pair of forceps, the cranioclast was used to crush the skull, decreasing its diameter. In some cases, this would allow normal uterine contractions to expel the foetus; in others, the physicians would use an obstetrical hook to pull the body out of the mother. Doctors disagreed as to the pelvic diameter that would necessitate this drastic intervention, but generally found that 3 to 3.5 inches was the smallest size through which a living infant could pass. Equally of debate was the pelvic size through which the dead fetus could be extracted. When vaginal extraction was deemed unadvisable, Caesarian section would be performed. As caesarean section became safer and more common with the advent of anaesthetics and antiseptic techniques, the use of cranioclasts and obstetrical hooks diminished. (Museum of Health Care, Kingston) Dr Mitchell Henry O'Sullivan worked in the Victorian country town of Casterton as a general practitioner from 1919 until his death in 1977. He also practiced obstetrics. His son, Dr David More O'Sullivan donated his obstetric bag and its contents to the College in 1999. The bag and contents are a unique time capsule of the type of instruments and pharmaceuticals used in the inter-war period.Hinged metal tool with bakelite handles at one end and serrated teeth at other end. The instrument is in two sections. The right or upper blade has a black bakelite handle. There are two screws on the inside of the handle, 5.5cm apart. In the centre of the blade is a screw notch in the shape of a small horseshoe. On the inner side of the blade is a depression extending most of the length. The left, or lower, blade also has a black bakelite handle. There are two screws on the inside of the handle approximately 6cm apart. Mobile metal clasps in the shape of an 'S' , with three serrations, is attached to the distal end of the handle, which enables the blades to be opened or closed. destructive instruments -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Carton's mucus evacuator, and introducer, used by Dr Mitchell Henry O'Sullivan
Used for the removal of mucus, chiefly, from newborn infants. The top section of the chamber in the evacuator acted as a receptacle for wool to absorb any excess overflow of fluid/mucus. The lower section of the chamber collected the aspirated fluid. Dr Mitchell Henry O'Sullivan worked in the Victorian country town of Casterton as a general practitioner from 1919 until his death in 1977. He also practiced obstetrics. His son, Dr David More O'Sullivan donated his obstetric bag and its contents to the College in 1999. The bag and contents are a unique time capsule of the type of instruments and pharmaceuticals used in the inter-war period.Metal evacuator with wire introducer. Evacuator has a rounded middle chamber, which is divided into two sections. Proximal end of evacuator is curved to approximately 60 degrees and has two small holes in the end. Introducer is a straight piece of wire attached to a flanged head, with a small, serrated edge. obstetric delivery -
Royal Australian and New Zealand College of Obstetricians & Gynaecologists (RANZCOG)
Enamel jug used by Dr Mitchell Henry O'Sullivan
This is a one pint general purpose enamel jug. Dr Mitchell Henry O'Sullivan worked in the Victorian country town of Casterton as a general practitioner from 1919 until his death in 1977. He also practiced obstetrics. His son, Dr David More O'Sullivan donated his obstetric bag and its contents to the College in 1999. The bag and contents are a unique time capsule of the type of instruments and pharmaceuticals used in the inter-war period.Cream coloured jug, made of enamelled metal with a blue rim. Inside the jug are markings for imperial and metric capacity.infant care -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: Bank in Chidoricho Hungama, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: Refugee evacuation, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: Azuma Bridge, Tokyo, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: Mitsukoshi Department Store, Tokyo, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: Shirokiya Department Store, Tokyo, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama -
Eltham District Historical Society Inc
Photograph - Postcard, The Great Tokyo Earthquake on September 1st, 1923: Ueno Hakuhinkan, Tokyo, 1923
The Great Kantō Earthquake of 1 September 1923 devastated the major cities of Tokyo and Yokohama, as well as five other surrounding prefectures and was one of the world’s worst natural disasters of the early twentieth century. In terms of loss of life and material damage, with an estimated 140,000 deaths and countless homeless, it is still Japan’s worst national disaster. Nearly 90% of the newspaper printers were destroyed in the earthquake. These postcards were not produced for aesthetics but as a major tool for the spread of information. Seeing how newspaper companies were left with their offices in shambles, postcard publishers tried to fill the gap hence some were in three languages. A very small number of publishing companies were fortunate enough to survive, one of them being Mitsumura Printing, which took advantage of its remaining resources to churn out postcards. When the Ōsaka Mainichi Shinbunsha published its bilingual three-volume photographic pictorial of the Great Kantō Earthquake just two weeks after the event, the calamity had already been captured in thousands of images that circulated on a national and international media highway. Commercial photographers and photojournalists produced the most abundant and immediate images of the quake, which were transmitted in newspapers, special-issue newspaper pictorials, commemorative photography collections, illustrated survivors’ accounts, and sets of commemorative postcards. These photographic images functioned as both news and souvenirs, rendering their consumers/viewers, inside and outside the devastated locale, into both witnesses and voyeurs. Images in the news media and those issued by respected publishing houses carried the visual authority of supposed facticity. As such they both produced and became the historical record of the event. Since the vast majority of 1923 disaster postcards that survive have no writing on them, they were likely treated more as collectibles than as a form of postal communication. Many were put into albums, creating new ways to combine images and create visual cultures of disaster for home viewing. Accordion-style albums allowed for personalized, serial organization of images that produced unique, imagistic narratives of the event. The album pages were also two-sided and could be stretched out to view a series of images on recto and verso. References: Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923 震災をイメージ化する 東京と1923年関東大震災のヴィジュアルカルチャー - The Asia. (2024, March 31). Retrieved from https://apjjf.org/2015/13/6/gennifer-weisenfeld/4270 The Great Kanto Earthquake: Postcards of Tragedy. (2024, March 31). Retrieved from https://www.tokyoweekender.com/art_and_culture/japanese-culture/the-great-kanto-earthquake-postcards/ See also: Postcards from Hell – Glimpses of the Great Kantō Earthquake; M. William STEELE (International Christian University, Japan) 14th Conference of the European Association of Japanese Studies: Visual Culture and Postcard Research Papers – East Asia Image Collection Blog. (2024, March 31). Retrieved from https://sites.lafayette.edu/eastasia/2014/09/01/14th-conference-of-the-european-association-of-japanese-studies-visual-culture-and-postcard-research-papers/] And https://icu.repo.nii.ac.jp/record/4503/files/ACS44_01Steele.pdfThis item, a souvenir from Japan from between the wars (circa 1923) was brought home to Research, Victoria by Bill Teagle who was serving in the Royal Australian Navy (1919-1945). Bill Teagle's sister Violet Amelda Teagle had married Theodore (Curly) Feldbauer in 1933. Bill's brother-in-law Curly was taken as a Prisoner of War by the Japanese and died at Sandakan in March 1945. The family did not learn of Curly’s death till months later and Bill's sister, Violet, herself could never forgive the Japanese for what happened to Curly. Curly is remembered on the Eltham Roll of Honour Board and his son, Albert Feldbauer (Bill’s nephew and youngest child of the children of the soldier fathers attending a school in the district), was given the honour of turning the first sod for the Eltham War Memorial Infant Welfare Centre Building. Despite this, the family maintained this cherished souvenir from a time of previous foreign friendship with Japan. The item was possibly given by Bill Teagle to his sister Margaret Rose (formerly Ingram) who later married Richard Edward (Eddie) Fielding in early 1948. (Eddie had been engaged to someone else before he went to war, but his fiancée broke it off before his return to Australia.) It was cared for by the Teagle/Fielding family for approximately one hundred years. It is of particular significance given the family's connection to the Eltham War Memorial and the significance of that memorial to the local community and represents that despite the horrors of war, former friends then foes can become friends again.tom fielding collection, japanese postcard, postcard, 1923, great kanto earthquake, japan, tokyo, yokohama