Stereoscopes were used together with stereo-graph photographs for a novel form of entertainment and family leisure activity in the 19th and early 20th centuries.An example of domestic entertainment for the family in the 19th and early 20th centuries.Stereoscope with sliding photo holder, folding handle and metal eye shield. Frame and handle made of wood and varnished. Motif of Eagle on eye-shield. Motif on eye shield [eagle]flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, photograph viewer, stereo viewer, stereograph, stereograph photo, stereoscope, family entertainment

This photograph informs the viewer of the grand ballroom at Rippon Lea homestead in Elsternwick in the late 1800s. One of 33 rooms in this mansion, built for Fredrick Sargood in 1868, the ballroom stood where the swimming pool is currently located. Louisa Jones’ (nee Nathan) love of the 1930s Hollywood style prompted her to demolish the old ballroom and replace it with the swimming pool. She converted Sargood’s billiard room into a ballroom during the late 1930s. Large black and white photograph (now sepia with age) in a ' landscape format' mounted on cardboard. The room featured in the image has an arched dome-shaped roof, a floor adorned with rugs, a vast and heavily ornate space and approximately 12 wicker chairs in the foreground.Written on verso of mount: 'Ballroom & organ at Rippon Lea' Stamped onto front left bottom corner of photograph: 'Johnstone & O'Shannessy/ & Co./ Propy. Ltd/ Collins St. Melb.' rippon lea, 1890s, ballroom, architecture, decorative arts, sargood family

This photograph depicts Camp st in Beechworth looking east. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and white rectangular photograph (copy) printed on gloss photographic paper. Obverse: The Rose Series P.3469 Copyright FORD STREET Reverse: BMM7744 PH150 1998.00059 beechworth, ford street, rose series, photograph, post card, black and white

This copy of a postcard depicts Ford Street in Beechworth looking North. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and white photograph (copy) on gloss photographic paper. Obverse: THE ROSE SERIES P.3481 COPYRIGHT FORD STREET, LOOKING NORTH, BEECHWORTH, VIC Reverse: BMM7743 PH 149 1998.00059beechworth, ford street, rose series, postcard, photograph, black and white, burke museum

This copy of a postcard from the Rose series depicts Camp Street looking East. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and white photograph (copy) on gloss photographic paper.Obverse: THE ROSE SERIES P.3459 COPYRIGHT CAMP STREET, LOOKING EAST, BEECHWORTH, VIC Reverse: BMM7743 PH 149 1998.00059beechworth, rose series, camp street, burke museum, black and white

This copy of a postcard from the Rose series depicts Ford Street looking South. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and White photograph (copy) on gloss photographic paper. Obverse: THE ROSE SERIES P.10544 COPYRIGHT FORD STREET, BEECHWORTH, VIC Reverse: BMM7746 PH 147 1998.00059beechworth, rose series, ford street, burke museum, postcard

Taken in Beechworth, this photograph depicts Ford Street looking North. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life. Black and White photograph on gloss photographic paper. Obverse: THE ROSE SERIES P.2749 COPYRIGHT FORD STREET, LOOKING NORTH, BEECHWORTH, VIC Reverse: 7739 PH 152 1998.00059beechworth, rose series, ford street, george rose, burke museum

MEDIUM: Photographic print. DESCRIPTION: A photograph of abstract architecture. Black outer frame with glass front panel and white board inner frame. An abstract collection of building faces meeting towards a left off centre vertical line collision point. This picture is a meeting of mirrors, how many remains a mystery. Where one mirror or building starts and another ends, to the viewers eye is met with some uncertainty. Following lines, the clearest meeting of mirrors is where the building on the left appears to be the same and collides with a variety of other buildings coming horizontally in a distinct vertical line to the top of the image. The bulidings on the right have somehow through the skill of the photographer captured a bermuda triangle of walls. The mirroring angles of the walls being from either several different buildings, or from several different mirrors. This creates a strange collecetion of imagery, the viewer unable to make clear distinctions of where something starts or ends or from where it is coming from. The tonal shades and shadows created also play a role in creating an interesting collage of shapes and lines. This piece essentially speaks of lines, angles, geometric shapes, meeting points, shadow and light. Signed and dated on white board inner frame, directly under left corner of image.photograph, st, considine, converge, collins

Installed as part of a stage of renovations to the War Memorial Park in eary 2002. This sign establishes a connection with the First World War by way of the painting "Menin Gate at Midnight". (NL 144) Since this photograph was taken (date unknown) the information panel has been restored and re-erected by staff of the Shire of Nillumbik who replicated the wooden side frame pieces with the same wood-turn design as seen here in the original. Colour photographMENIN GATE AT MIDNIGHT Will Longstaff, 1927 Oil on canvas, Size 135cm high x 254cm wide Collection: Australian War Memorial The artist Will Longstaff was born in in Ballarat in 1879 and died at Littlehampton, Sussex, UK, 1953. Will Longstaff for many years lived in Eltham, his son Tommy, attending school at Kangaroo Ground. As an Official War Artist, will Longstaff depicted in his alegorical painting the Menin Gate Memorial, Ypres, Belgium. The Memorial unveiled on 24th July 1927 honours by name over 50, 000 allied soldiers who fell in the Great War and have no known graves. The names of 6,208 men of the first Australian Imperial Force (A.I.F.) are listed within the Memorial on stone tablets. The painting held huge emotional appeal to Australians when it arrived from England in 1928, attracting an estimated one million viewers, many of whom interpreted the field of red poppies in the foreground as the spirits of the dead rising from their unknown graves. The painting is to be found in the Australian War Memorial, Canberra.menin gate at midnight, william longstaff, kangaroo ground memorial, information panel, shire of eltham war memorial

WW1 AIF Training Camp in Egypt prior to deploying to Gallipoli The photograph shows the living conditions (Tents). It also shows the vastness of the site and suggests large numbers of servicemen. These two photographs are historically significant. They demonstrate the conditions that the soldiers in training experienced before they arrived at the front-line. They give the modern viewer some understanding of what it was like in Egypt. It is also very significant because it keeps the memories alive. Professionally framed work, two pictures one above the other. Shows AIF Camp with pyramids in background.Brown frameaif training, gallipoli, 1st australian division, egypt, ww1, australian imperial force

These postcards are part of the Rose series of photograph / postcards taken around Victoria. Rose was born in Clunes in 1861 and later worked in his father’s boot-making business in Prahran while studying photography. In 1880 he founded the Rose Stereograph Company and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. Rose produced stereoviews of the Western Front during the First World War. In all, he took about 9000 images in about 38 countries. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.These postcards are pictorial records of Orbost in the mid 20th century.Postcards such as these were a way of showing the scenic attractions of Orbost to potential tourists.Three black / white postcards of views over the Orbost flats and railway viaduct. 3183.1 is of a railway viaduct in the foreground and farming flats. 3183.2 is a view over the Orbost flats taken from Grandview Lookout. 3183.3 is a view from the Grandview Lookout showing the back of a woman looking across a rail fence. 3183.1 - bottom front - Rose Series P 478 SNOWY RIVER FLATS, ORBOST VIC 3183.2 - bottom front - Rose Series P 49 ORBOST, FROM GRANDVIEW HEIGHTS,VIC 3183.3 - bottom front - Rose Series P 14443 A VIEW FROM THE LOOKOUT, ORBOST, VICpostcards-orbost rose-series orbost-railway-viaduct grandview-lookout-orbost

This photograph was taken in about 1924 as it approached Newcastle, New South Wales before the sailing ship Monkbarns was converted for use as a hulk. The steel-hulled, 3-masted fully rigged ship was built in 1895 by Archibald McMillan & Son at Dumbarton in Scotland. It was 267 feet long, 40.1 feet wide and 23.5 feet deep. In 1914 John Stewart & Co. owned ten sailing vessels, one of which was the Monkbarns, but by the end of the first World War, the fleet had only four vessels survived the war, including the Monkbarns. The Monkbarns traded across the world. Some of the destinations included Port Adelaide, Table Bay in South Africa, Liverpool, Sydney, London and New York. Her last commercial voyage was in 1926. Overall, the ship traded for 32 years before it was converted in Spain in 1927 for use as a hulk for carrying coal. There were several owners of the ship over its lifetime. They were - 1895, first owner, Charles Webster Corsar, Liverpool - 1902, the owner was D. Corsar & Son, Liverpool - 1909, owned by John Hardie & Sons, Glasgow - 1911, John Stewart & Co., Liverpool - by1915, James A. Young, London - 1926, L.H. Wilson, Liverpool - 1927, Ballener Espando (Brunn & van Lippe, Tonsberg).Photograph, black and white, of the ship "Monkbarns" , a steel hulled sailing ship under sail, bow facing viewer. Rectangular wooden frame has an inner gilt frame around a wide, natural bark matte. The lover edge of the matte has a decorative rectangular cut-out surrounding an inscription with the ship's name. On the back is a handwritten inscription about the ship and the presentation of the photograph..Front: "MONKBARNS" Reverse handwritten in pen: "PRESENTED TO A.F. WATSON / FOR S.S.V. BY / CAPT. F.K. BAXTER / 74 VERDON ST/ WILLIAMSTOWN " Reverse: "STEEL SHIP MONKBARNS / 1771 TONS REGISTER / 267 x 40' X 27'2" Draft / Build 1895 by McMillan, Dumbarton, Scotland / Converted to a hulk in /Spain 1927. / Photo taken in - Converted from NEWCASTLE N.S.W. about 1924"flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, monkbarns, sailing ship, newccastle, new south wales, hulk

This folding viewer for individual stereoscopic pictures has a cut-out between the lenses to accommodate the nose of the user. The original folding viewer was patented by J. F. Mascher of Philadelphia in March 1853 and was designed to hold stereoscopic portraits using the daguerreotype process. This was at the very end of the daguerreotype era, and originals are quite rare.Metal stereo viewer and many cards including stereoscopic photographs of crystal modals (Bragg's Crystal, Fluorspar, caesieum chloride, zinc-blende, iron pyrites, quartz, Tellurirumetc), and Dr Mullers Universal X-Ray Spectrograph. stereoscope, adam hilger, sir william bragg, w.i. bragg, dr muller, x-ray, crystal, spinel, bismuth, diamond structure, tartaric acid, naphthalene

Black and white photograph -Duke of York Celebrations , Melbourne , The Butter Arch, Collins Street, Melbourne Victoria. Sold by George Rose Publisher Melbourne - picture designed to be viewed through stereo optic viewer , mounted on card one corner missing /References: Blum, R. George Rose: Australia's Master Stereographer, Ron Blum, Oaklands Park S.A. 2008, p. 33. / right of card - Rose's Stereographic Views 'photograph, streetscape, melbourne, duke of york celebrations , melbourne , the butter arch , collins street, /blum, r. george rose: australia's master stereographer, ron blum, oaklands park s.a. 2008

Her Majesty's Territories, stereographic views of Australian sceneries, a Bendigo Art Gallery exhibition. 135 pages with sepia photographs.Bendigo Art Galleryphotography, viewers, stereographic, australia-victoria-history-photography

Stereoscopic Views . Printed on Front. Underwood & Underwood, New York, London, Publishers Ottawa - Kansas. Works and Studios, Ardlington Nth, Littleton Nth, Washington. 1. Man - eating Alligators of India looking for another meal. 2. Loch Katrine, Scotland. 'The spot an Angel designed in Grace'. Faded undecipherable description on reverse. 3. Overlooking Natures Grandest Scenery - from Glacier Point [N E Yosemite Valley, Cal. Printed Description reverse.Underwood & underwood.photography, viewers

Stereoscopic Views. J Rowe Jenolan Caves. 1. Hand written Coral Grotto 2. Crystal Palace. 3. Crystal City. 4. Gem of the West. 5. Millys Grotto. 6. LucindaJ Rowe, Jenolan Caves & Blue Mountainsphotography, viewers

Rose Stereoscopic Views. 1. Duke of York Celebrations Melbourne. 2. Duke of York Celebrations Melbourne. 3. Delhi Durbar State Entry into Delhi. Camels in the Procession. 4. The Splitters Falls, Gulf Stream, near Stony Creek, Grampians, Vic Australia,Rose Stereoscopic Viewsphotography, viewers

Stereoscopic views. Kilburn Brothers Lilleton N H. 1. Jack Frost at Work. 2. The Hunter's Chorus- Loose the hounds. 3. Jack Frost at Work. 4. Fairy Frost Work.Kilburn Brothers Littleton N H.photography, viewers

Stereoscopic views. Kilburn Brothers Littleton , N H. 1. Trinity college Dublin. 2. Brooklyn Bridge, scene of the accident , May 30th 1883. 3. Spinning Room , Mechanics Mill, Fall River Mass. 4. Bay Grove Hill, Greenwood Cemetery, Brooklyn, N Y. 5.Crossing the Great Suspension Bridge, by rail. 6. Dining Hall , Grand Union Hotel, Saratoga, Largest Dining Hall in the World. 7. Phantom Leaves. 8. Full Moon. 9. Merced River, Yo-Semite , Cal. 10. I Breathe Inspiration. 11. United States Hotel Park, Saratoga.Kilburn Brothers Littleton N H.photography, viewers

Stereoscope viewer card number 3286 titled The artist and his friends, depicting monkeys in an art studio, photographed and published by Kilburn Brothers Littleton N.H.Copyrighted 1870 by James.A.Hurst.postcard, photograph, various themes

Stereoscope viewer card number 4152 titled Telling her love,depicting a small girl and dog, photographed and published by Kilburn Brothers Littleton N.H. ink writing on back.Copyrighted 1886 by B.W.Kilburn.postcard, photograph, various themes

Stereoscope viewer card depicting Niagara Falls from American side, photographed and published by Kilburn Brothers Littleton N.H.Kilburn Brothers 268postcard, photograph, various themes

Stereoscope viewer card depicting Castle of Rheinstein Germany, photographed and published by Kilburn Brothers Littleton N.H.Kilburn Brothers 1617postcard, photograph, various themes

Stereoscope viewer card depicting Sir Hugh Allen's residence Montreal, photographed and published by Kilburn Brothers Littleton N.H.Kilburn Brothers 4238postcard, photograph, various themes

Private James Edward Matthews (3174) was one of four first cousins living in the Myrtleford district killed during World War 1. He was in the 60th Battalion, A.I.F. action at Fromelles, France, and was killed in action, aged 19 years, on July 19,1916. He was the son of Richard and James Matthews of Myrtleford and has no known grave, but is "Remembered with Honour" at V.C. Corner, Australian Cemetery and Memorial, Fromelles. James attended Myrtleford State School 955; his death is recorded on honour boards at the Uniting (formerly Methodist) Church, the school honour board and at the Soldier's memoral Square. A memorial window at the church includes names of the four cousins.The portrait reminds viewers of the youth of many A.I.F. volunteers, the outcome of actions such as that at Fromelles in 1916 and the impact on families in small communities. It also relates to the ongoing search for identifiable remains of those personnel without a known resting place. Framed original sepia photograph, head and shoulders, of World War 1 soldier in full dress uniform.James E. Matthews, 60th Battalion, Killed in Action, 19 July, 1916. Photography: Talma & Co., Melb.james matthews 60th battalion fromelles

After the invention of a camera that printed on paper in 1855, photographers started producing stereo prints on cards. These cards were made of two identical photographs placed in a 3D viewer. By looking throough the viewer with two eyes, one gained the impression of three dimensional depth. This early form of stereo photography remained popular until the 1930s.stereoscope

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of decorative surround tiles in the fireplace of the drawing room at Villa Alba. The gold, white and blue decorative tiles depict abstract flowers within a quatrefoil design. The tiles were produced by Mintons Ltd. In the Minton's Ltd Tile Catalogue, this tile is listed as No. 1427 G. Sin. Tiles. / End Tile. It can be viewed in the flipbook viewer of the original catalogue published by The Minton Archive on page 44/206.fireplaces, villa alba - drawing room, mintons, mintons - tiles

This work forms a pair with Untitled #4 (fox bones – pattern) / This work draws on ideas of death and the traces of a body that death leaves behind / The work aims to confront the viewer with the concept of death, but it is not morbid or macabre in its consideration of it / Instead of fear the work presents a quiet and beautiful image that aims to portray a feeling of acceptance in the inevitable destruction of one's body / In this work the bones of a deceased fox were meticulously cleaned, bleached and layed out for photographing / No digital manipulation was used to arrange the bones / The same bones from the same fox were rearranged and used for the other work in this series. This work was completed in 2012 as part of the artist's residency in 2011 at Birrarung, Laughing Waters (Laughing Waters Artist in Residence program - LWAIR) managed by Nillumbik Shire Council / Works produced there take inspiration from the natural landscape and the creatures living within that particular environment.Print - digital photograph printed on hahnemuhle photo rag paper / edition 2 of 8 + 2 artist prints / Individual fox bones placed/layed out on a white background and arranged in an orderly fashion according to size and shape / Beige/neutral in colour / Blonde timber frame.No signatures / no personal markings / no framers identified. digital print / fox / bones / ordered / photograph / laughing waters / birrarung / imam / death

This work forms a pair with Untitled #3 (fox bones – ordered) / This work draws on ideas of death and the traces of a body that death leaves behind / The work aims to confront the viewer with the concept of death, but it is not morbid or macabre in its consideration of it / Instead of fear the work presents a quiet and beautiful image that aims to portray a feeling of acceptance in the inevitable destruction of one's body / In this work the bones of a deceased fox were meticulously cleaned, bleached and layed out for photographing / No digital manipulation was used to arrange the bones / The same bones from the same fox were rearranged and used for the other work in this series.This work was completed in 2012 as part of the artist's residency in 2011 at Birrarung, Laughing Waters (Laughing Waters Artist in Residence program - LWAIR) managed by Nillumbik Shire Council / Works produced there take inspiration from the natural landscape and the creatures living within that particular environment.Print - A digital photograph printed on hahnemuhle photo rag paper / edition 2 of 8 + 2 artist prints / Individual fox bones placed/layed out on a white background and arranged in an outward circular pattern. Beige/neutral in colour / Blonde timber frame. No signatures / no personal markings / no framers identified.digital print / fox / bones / pattern / photograph / laughing waters / birrarung / imam / death