This is the home of Ernest Augustus Young (1891-1985) and Ruby Nichell Whitby (1892-1984) and their son Ernest Lance Young. Lance was born 24 March 1915 in Surrey Hills; after he married Beryl Mair. Electoral roll for 1937 gives the house name as 'Whitby Lodge'. Ernest and Ruby also had twins Clive and James who died in infancy. Buried at Box Hill Cemetery - M-*-0867 (family plot) This is part of a large collection relating to the Mair, Deakin and Young families. REF: Memoir of Laurie Newton (nee Young) - Her grandfather bought the land and had the house built. She remembers it as having pressed ceilings in some rooms and ornate fireplaces and tiles and leadlight windows in some rooms and doors with leadlight panels. Her grandfather was a keen gardener with an ornamental front garden and many vegetables and fruit trees in the back yard. Her grandfather sold the adjoining block (No 3 York Street), which had been used for growing flowers and vegetables, to John and Edna Jean. Reid. She also remembered that he extended the house and divided it into 2 flats, renting out the northern side for 20 years. Sold by Jellis Craig on 24 December 2010 - With formal living, dining, 3 bedrooms, 2 bathrooms, garage/ample OSP. Land: 18.2m x 40.8m (60' x 134') approx. Large 2 storey house replaced the house. Adjacent house (No 7 York Street) has been renovated. Colour photo of a rear view of 5 York Street, Mont Albert. Only part of the house can be seen but part of the roof of the house next door and brick and stucco chimneys can be seen. There is a greenhouse between these 2 properties.Red photographic processing stamp "PROCESSED BY / KODAK / MAY 85M"ernest augustus young, ruby nichell whitby, ruby nichell young, ernest lance young, box hill cemetery, whitby lodge, house names, mont albert

David Miller (Dave) Mair (1879-1938) married Lily Vipond Deakin (1890-1945) in 1910. They had 5 children: Geoffrey David (1913-1970), Beryl (1916-1976), Gwynneth (1917-1997), Isabel Lillian (1921-1997) and Shirley Inez (1928-1968). Personal communication from Laurie Newton, Beryl's daughter: Dave and Lily initially lived in East Melbourne after they married. Dave walked across the gardens to work at the MCG. He never drove or owned a car. Geoffrey, Beryl and Gwynneth were born in East Melbourne. They subsequently moved to Louise Avenue, Mont Albert and Isabel may have been born while they were there. Later they purchased 20 Barton Street, Mont Albert. Shirley was born after they moved to Barton Street. Electoral roll details: 1919 68 Park Street, Hawthorn 1922 24 Louise Avenue, Mont Albert 1924 20 Barton Street, Mont Albert Dave Mair was a very keen sportsman. This is part of a large donation of material from the Deakin, Mair and Young families. The Deakin, Mair and Young families had many connections with Mont Albert and Surrey Hills.A sepia photo of 4 well-dressed children, a boy and 3 girls, one a toddler, in a back yard. The boy is astride a bicycle and the girls stand either side. Behind them is a high paling fence.On rear: "Gwen Geoff Beryl Isabel" in blue biro. Thought to be Beryl Mair's handwriting. Photographic processing stamp in blue "54".david miller mair, dave mair, lily vipond deakin, lily vipond mair, geoffrey mair, beryl mair, isabel mair gwynneth mair, children, back yards, bicycles

This is the home of Ernest Augustus Young (1891-1985) and Ruby Nichell Whitby (1892-1984) and their son Ernest Lance Young. Lance was born 24 March 1915 in Surrey Hills; after he married Beryl Mair. Electoral roll for 1937 gives the house name as 'Whitby Lodge'. Ernest and Ruby also had twins Clive and James who died in infancy. Buried at Box Hill Cemetery - M-*-0867 (family plot) This is part of a large collection relating to the Mair, Deakin and Young families. REF: Memoir of Laurie Newton (nee Young) - Her grandfather bought the land and had the house built. She remembers it as having pressed ceilings in some rooms and ornate fireplaces and tiles and leadlight windows in some rooms and doors with leadlight panels. Her grandfather was a keen gardener with an ornamental front garden and many vegetables and fruit trees in the back yard. Her grandfather sold the adjoining block (No 3 York Street), which had been used for growing flowers and vegetables, to John and Edna Jean. Reid. She also remembered that he extended the house and divided it into 2 flats, renting out the northern side for 20 years. Sold by Jellis Craig on 24 December 2010 - With formal living, dining, 3 bedrooms, 2 bathrooms, garage/ample OSP. Land: 18.2m x 40.8m (60' x 134') approx. Large 2 storey house replaced the house.Colour photo of the street view of 5 York Street, Mont Albert. The house is Edwardian in style, constructed from weatherboard painted white with a red corrugated iron roof with simple finials. There is a small veranda with simple fretwork, lead-light feature windows to one, possibly two front rooms, one of which has a bay window. There is a garage set back at the side of the house with a concrete driveway on the south side of the house towards Mont Albert Road. The fence is low and constructed from roughly faced stone. The garden contains mature shrubs.In blue biro on rear: "1985 / POP'S" ; "5 YORK ST / E.A. YOUNG". Red photographic processing stamp "PROCESSED BY / KODAK / MAY 85M"ernest augustus young, ruby nichell whitby, ruby nichell young, ernest lance young, box hill cemetery, whitby lodge, house names, mont albert

David Miller (Dave) Mair (1879-1938) married Lily Vipond Deakin (1890-1945) in 1910. They had 5 children: Geoffrey David (1913-1970), Beryl (1916-1976), Gwynneth (1917-1997), Isabel Lillian (1921-1997) and Shirley Inez (1928-1968). Personal communication from Laurie Newton, Beryl's daughter: Dave and Lily initially lived in East Melbourne after they married. Dave walked across the gardens to work at the MCG. He never drove or owned a car. Geoffrey, Beryl and Gwynneth were born in East Melbourne. They subsequently moved to Louise Avenue, Mont Albert and Isabel may have been born while they were there. Later they purchased 20 Barton Street, Mont Albert. Shirley was born after they moved to Barton Street. Electoral roll details: 1919 1922 24 Louise Avenue, Mont Albert 1924 20 Barton Street, Mont Albert Dave Mair was a very keen sportsman. This is part of a large donation of material from the Deakin, Mair and Young families. The Deakin, Mair and Young families had many connections with Mont Albert and Surrey Hills.A sepia photo of a woman and 2 girls in a jinker. They are all wearing brimmed hats as if going on an outing. Apart from a couple of straggly trees in the background along what may be a boundary or paddock fence, the surroundings look very bare.In blue biro: " Gwen / Beryl / Mrs Jarman / Derrinallum" Thought to be Beryl Mair's handwriting. Photographic process stamp "C 311" "KODAK PRINT" in black. beryl mair, gwen mair, mrs jarman, farms, children, horse-drawn vehicles

David Miller (Dave) Mair (1879-1938) married Lily Vipond Deakin (1890-1945) in 1910. They had 5 children: Geoffrey David (1913-1970), Beryl (1916-1976), Gwynneth (1917-1997), Isabel Lillian (1921-1997) and Shirley Inez (1928-1968). Personal communication from Laurie Newton, Beryl's daughter: Dave and Lily initially lived in East Melbourne after they married. Dave walked across the gardens to work at the MCG. He never drove or owned a car. Geoffrey, Beryl and Gwynneth were born in East Melbourne. They subsequently moved to Louise Avenue, Mont Albert and Isabel may have been born while they were there. Later they purchased 20 Barton Street, Mont Albert. Shirley was born after they moved to Barton Street. Electoral roll details: 1919 68 Park Street, Hawthorn 1922 24 Louise Avenue, Mont Albert 1924 20 Barton Street, Mont Albert Dave Mair was a very keen sportsman. This is part of a large donation of material from the Deakin, Mair and Young families. The Deakin, Mair and Young families had many connections with Mont Albert and Surrey Hills.A sepia photo of a family posed informally in a garden. The woman is seated on a cane chair holding the youngest child with one girl standing to her left and a girl and boy standing to her right. The man is standing behind her with only his face captured in the photo. The infant and the girl to the right have moved and their faces are blurred. The house in the background is of block-front construction with simple fretwork to the veranda.On rear: "Beryl Dad Isabel Mum / Gwen Geoff / at Louise Avenue / Mont Abert" in blue biro. Thought to be Beryl Mair's handwriting. Photographic processing stamp in blue ink "54 P"barton street, children, lily vipond deakin, lily vipond mair, beryl mair, isabel mair,, gwynneth mair

This was the home of Sister Ann Elizabeth Dowsley, daughter of Thomas Dowsley and Mary McKay. She was born in St Arnaud in 1887. She enlisted on 22 August 1916. As a AANS Matron in WW1 she served in India. She was awarded a Royal Red Cross award for conspicuous services. She did not marry. She died in December 1960 at Caulfield. There is a photo of her in Punch, Thursday 31 August, 1916, p 21. REF: Laurie Newton - Ernest Lance Young and Beryl (nee Mair) bought the house from Sister Dowsley for £895 on their marriage in 1939 but sold it when Lance was sent to Darwin during his war service. Beryl purchased 11 York Street in later war years. This property was also significant for Ernest Lance Young and Beryl Mair. It may have been the childhood home of their children Barbara and Ken, but Laurie was probably born after they moved to York Street. Lance was born 24 March 1915 in Surrey Hills, the son of Ernest Augustus Young and Ruby Nichell Whitby. He married Beryl Mair in 1939 and died on 5 October 1999 at Mont Albert. Electoral rolls list him as a manufacturer. He is buried in Box Hill Cemetery (M-*-0867) along with his father. He served in WW2 (Service Number - VX104733 enlisting at St Kilda) and after returning took over his father's business. The Mair family were resident in Barton Street for several generations. Beryl's father Dave Mair was a keen sportsman and founder of the Kangaroo Social Club of cricketers. This is part of a large collection relating to the Mair, Deakin and Young families. Black & white photo of the street view of a Californian bungalow home set behind a picket fence and hedge. The house appears to be weatherboard and render with a terracotta tile roof and a simple chimney.In blue biro on rear: "Our first home", "Sister Dowsleys home at / Elgar Rd B Hill"; "YOUNG" In lead pencil on rear: " 3 (pound symbol) 895" Photographic processing stamps "14" and (?) "GRANVILLE PRINT" within a triangle. ann elizabeth dowsley, world war 1, nurse, elgar road, ernest lance young, beryl young, beryl mair

This photo was taken by Victor Cattoni of Ingham in Queensland when he was in Melbourne on his honeymoon in 1953. The donor (his son) knew of no connection between his father and the Conlon family. Victor and his wife, Julia, travelled to Melbourne on the 'Mananda', which had been converted into a hospital ship in 1940. Victor was a motor mechanic and business man in Ingham and later a sugarcane farmer at nearby Abergowrie. Conlon's bread factory was located at 410-412 Canterbury Road on the corner of The Avenue. The site was purchased in 1927 by Michael Conlon and the factory built in 1928/1929. The original Conlon bakery was at 108 Union Road. This became to retail shop until the 1940s with the family involved in both the bakery and the shop. The photo is representative of the era when home deliveries by horse and cart were made by local traders including the baker, green grocer and dairy man. It also documents part of the history of a local business of longstanding.B&W photo of M F Conlon Surrey Bread Factory horse & cart at rest in a street in front of a picket fence.On the rear: "Photo by: / Victor Cattoni / Ingham, North Queensland / 1953" This is the same hand as that on the donation form, so it is presumed to have been added by Ed Cattoni prior to donation to SHHS. there are also photographic processing marks: "Ilford" stamped on the rear of the photographic paper and the number 71.victor cattoni, conlon's bread factory, 1953, canterbury road, factories, horse drawn deliveries, home deliveries

The Henty family and their descendants were notable settlers in Australia, initially in Western Australia, then in Launceston and finally in Victoria. While most family members settled in Victoria from 1834, others remained in England and in Tasmania. The identity of the woman in this mid 19th studio portrait is as yet unidentified. The daguerreotype was purchased by the Society as part of a small collection of Henty memorabilia and portraits from the owner of Moorabool Antiques, Geelong in 2021, which had in turn acquired the item from the estate of Dennis Alston of Alston's Antiques in Hamilton, Victoria.Members of the extended Henty family were notable British settlers of southeastern and southwestern Australia. The connection to Kew (Vic.) is that members of the Henty family owned important mansions in Kew in the 19th century. Stephen George Henty's family lived at 'Findon', and Francis Henty of 'Merino Downs' in the Western District lived in his final years at 'Field Place', Kew. Numerous members of the Henty family are buried in the Boroondara General Cemetery.Three quarter length studio portrait of a female member of the Henty family, taken using the daguerreotype photographic process, and encased in a standard daguerreotype frame made of tooled leather, velvet and gilt metal. The woman is dressed in a silk dress, typical of the 1860s, with a lace collar and bonnet. She appears to be holding a locket in her right hand.henty family, australia - early settlers

Manual describing all facets of photography using Ilford Cameras and includes developing and printing of photographs. The map making production at the Army Survey Regiment, Bendigo, made extensive use of photographic processes.A5 sized book, Hard Covers front and back. 470 numbered glossy pages.Inside front cover - "L33", stamp - "EXPENDABLE STORES" (twice), "Unreadable signature - QM 30/7/82", Stamp- "AHQ Survey Regiment, Royal Australian Survey Corps" Handwritten - Accession No 167 (and then crossed out), Stamp "29" First Page "15/-", Stamp "2 Topo Svy Coy, Powlett Street Training Depot (partly crossed out), Stamp Technical Book and Magazine Co, 295 -299 Swanston St. Opp Old Melbourne Hospital cert 2041, Melbourne. Title Page - "Accession No16, stamp 2 Topo Svy Coy Powlett Street Training Depot, East Melbourne" Stamp - "AHQ Survey Regiment, Royal Australian Survey Corps" - Accession No 167 (faded). Back Cover - Stamp - "AHQ Survey Regiment, Royal Australian Survey Corps"royal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

David Miller (Dave) Mair (1879-1938) married Lily Vipond Deakin (1890-1945) in 1910. They had 5 children: Geoffrey David (1913-1970), Beryl (1916-1976), Gwynneth (1917-1997), Isabel Lillian (1921-1997) and Shirley Inez (1928-1968). Personal communication from Laurie Newton, Beryl's daughter: Dave and Lily initially lived in East Melbourne after they married. Dave walked across the gardens to work at the MCG. He never drove or owned a car. Geoffrey, Beryl and Gwynneth were born in East Melbourne. They subsequently moved to Louise Avenue, Mont Albert and Isabel may have been born while they were there. Later they purchased 20 Barton Street, Mont Albert. Shirley was born after they moved to Barton Street. Electoral roll details: 1919 1922 24 Louise Avenue, Mont Albert 1924 20 Barton Street, Mont Albert Dave Mair was a very keen sportsman. This is part of a large donation of material from the Deakin, Mair and Young families. The Deakin, Mair and Young families had many connections with Mont Albert and Surrey Hills.A sepia photo of a girl bending towards a calf feeding from a bucket with a man overlooking. There are 6 calves altogether feeding from a small trough and 2 buckets. In the background is an Edwardian timber house with a brick chimney and a corrugated iron roof. There is a centrally positioned (?) rear door with windows either side. There is a tank to the left of the house, which is enclosed within a post and wire fence. The surroundings look very bare.On the rear in black ink: "Feeding time for the / calves at Derrinallum / B Mair / 20 Barton St / Surrey Hills / E10." Writing may be that of Lily Mair. In blue biro: " Beryl Gwen ? Mr Jarman" Thought to be Beryl Mair's handwriting. Photographic process stamp "C 311" "KODAK PRINT" in black. Despite the inscription including Gwen Mair, only one child can be seen. beryl mair, derrinallum, farms, mr jarman

James John Thomson was the first secretary of the Snowy River Shipping Company. The Snowy River Shipping Company was formed by Mr Henry James in 1880 with Captain McNeil as master. This photograph was taken off a one inch daguerrotype which was the first publicly available photographic process, widely used during the 1840s and 1850s.James John Johnston was a prominent citizen of Orbost in the late 19th / early 20th century.A black / white photograph of a man - an octagonal shape on a white buff card.on front above portrait - "One Inch" and a hand-drawn ruler. on front below portrait - in capitals and underlined "Mr J.J. THOMPSON"johnston-j.j. snowy-river-shipping-company

These are the 4 surviving daughters of Thomas Henry Deakin (1845-1915), born in Monmouthshire, Wales and his wife Janet (Jessie) Longmore (1851-1939), born in Morayshire, Scotland. The couple also had 2 sons: John Henry (1879-1962) and William Andrew (1883-1939). A fifth daughter Daisy Jessie was born in 1880 and died the same year at the age of 7 months. Elsie Longmore Deakin (1881-1969) was a nurse ans remained single; Minnie Winifred (1886-1966) married Charles Williamson in 1923; Lily Vipond (1890-1943) married David Mair in 1910 and Jessie Alice, known as Alice, married Hector Williamson in 1921. Hector and Charles were brothers. Elsie Longmore Deakin enlisted AANS aged 35 years in 10 May 1915; embarked on the Mooltan on 22 August 1916. Address : 114 Station Street, Fairfield, Next of kin : mother, Mrs Janet Deakin (nee Longmore), 114 Station Street, Fairfield, father, Thomas Henry Deakin Elsie Deakin enlisted at 35 years of age on 10 May, 1915 and served locally before volunteering for overseas duty on 9 August, 1916. Her three years of training were completed at the Melbourne General Hospital. She embarked with the rank of Sister for India and was appointed to the Victoria Hospital, Bombay. In January, 1917, when she was transferred to England and a Military Hospital at Bagthorpe later to the 1 Australian Auxiliary Hospital, and in January of the following years to 25 (British) GH in France but returned a few weeks later to England and the 1 AAH after suffering a seriously strained left ankle. She returned to France post-war and served another four months before being returned to Australia in May, 1919. Her appointment was terminated as medically unfit on 9 June, 1919. Born South Melbourne, she died in Elsternwick on 14 October, 1969, aged 87. (REF: http://www.ozsportshistory.com/wardeaths/women_a_e.html) There is a photo of her in uniform on this site and also on http://ww1nurses.gravesecrets.net/de.html LtoR: Alice, Minnie, Lily, Elsie. This is part of a large donation relating to the Deakin, Mair and Young families. The donor thought this was taken during the 1950s but the Kodak stamp identifies it as later.This is part of a large collection of material related to the Deakin, Mair and Young families with multiple connections to Surrey Hills and Mont Albert.A colour photo with a cream edge of 3 well-dressed women sitting on a public bench in what looks to be a park. All are wearing hats and carrying handbags. Two are wearing gloves. On rear in blue biro - "Aunties / Elsie Minnie & Alice / Mum's RIGHT TO LEFT In black biro) / Beryl / YOUNG / My Mothers Sisters / (Lily Vipond Deakin / MAIR." Some of the handwriting is thought to be that of the donor's mother, Beryl Mair. There may be another hand. It appears that not all the inscriptions were added at the same time. There is also a photographic processing stamp in red: " THIS IS A / KODACHROME PRINT / Made by / KODAK / FEBRUARY 1964 M" elsie longmore deakin, minnie winifred deakin, minnie winifred williamson, lily vipond deakin, lily vipond mair, jessie alice deakin, alice deakin, jessie alice williamson, alice williamson

The Henty family and their descendants were notable settlers in Australia, initially in Western Australia, then in Launceston and finally in Victoria. While most family members settled in Victoria from 1834, others remained in England and in Tasmania. The daguerreotype was purchased by the Society as part of a small collection of Henty memorabilia and portraits from the owner of Moorabool Antiques, Geelong in 2021, which had in turn acquired the item from the estate of Dennis Alston of Alston's Antiques in Hamilton, Victoria.Members of the extended Henty family were notable British settlers of southeastern and southwestern Australia. The connection to Kew (Vic.) is that members of the Henty family owned important mansions in Kew in the 19th century. Stephen George Henty's family lived at 'Findon', and Francis Henty of 'Merino Downs' in the Western District lived in his final years at 'Field Place', Kew. Numerous members of the Henty family are buried in the Boroondara General Cemetery.Three quarter length seated studio portrait of Elizabeth Margaret (Milligan) Gaunt, taken using the daguerreotype photographic process, and encased in a standard daguerreotype frame made of tooled leather, velvet and gilt metal. Margaret Gaunt is dressed in a pale silk dress, typical of the 1860s, with a buttoned bodice and wide sleeves. She appears to be holding a book in her right hand. The sitter was the half sister of Mary Ann Lawrence (1821-81), the wife of Francis Henty of 'Merino Downs' and 'Field Place', Kew. She married Charles Gaunt (1842-1916) at St John's Church of England, Launceston in 1868. Following her marriage, she was to have 11 children.henty family, eliza margaret milligan, eliza margaret gaunt, launceston - 19th century, mary ann lawrence, mary ann henty, francis henty

Charlemont & Co., operated out of the Academy Studio, 114 Elizabeth Street from 1890 to 1898. The sitter’s identity has been established as a Mrs. Merritt. While we know that she is not the Mrs Merritt who was to be the wife of the future Mayor of Kew, there were two Mrs Merritts who were shopkeepers in High Street, Kew. Mrs Lucy Merritt operated a bootmaker’s shop, and subsequently a “boot warehouse” from 1888 until the 1920s. Miss Laura Merritt established a dressmaker’s shop in High Street in 1910. Her business also lasted until the 1920s, albeit changed to that of a bookseller and stationer. Silver albumen cabinet card by Charlemont & Co., who operated out of the Academy Studio, 114 Elizabeth Street from 1890 to 1898. In this portrait of Mrs Merritt, she is posed gazing directly at the lens, thus achieving a potentially more intimate relationship with the viewer. All that is revealed however in this supposedly more direct pose is her face. As with an earlier generation, her hair is centrally parted and flattened to accommodate her bonnet, which is surmounted by feathers. The detail in her coat-dress is sharply revealed by new photographic processes that allowed firms like Charlemont & Co., to capture greater light and shade, as well as the detail of fabrics. The entire garment is beaded with what is probably Parisian jet. The beading is arranged in a ‘paisley’ design. The paisley pattern was to become ubiquitous in the 19th century as a design on everything from carpets, to shawls, to clothing.Mrs Merrittcharlemont & co., mrs merritt

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.A unique Illustrated book, comprising a series of twelve plates of panoramic and landscape photographs of Kew, commissioned from the Melbourne (and Kew) photographer JFC Farquhar, by the Kew stationer Henry Kellett. The book was published in 1891, so it is presumed that the photographs provided by Farquhar were taken in 1891 or in the previous year. Photographs from the cloth bound book were offered by Kellett for sale separately; hence a number are in public collections. The book is in very poor condition, the leaves having separated from the spine. The cover is suffering from red rot while the mounts of each book plate are dirty and frequently suffering from foxing. The actual silver albumen plates variably suffer from foxing and iridescence caused by the deterioration resulting from the photographic process. Each part of the book can be viewed in this record in sequential format.KEW WHERE WE LIVE / KEW ILLUSTRATED / THE ACCOMPANYING ILLUSTRATIONS ARE PHOTOGRAPHIC VIEWS OF KEW AND ITS SURROUNDINGS, EXECUTED BY THE "ARGENTIC BROMIDE PROCESS", WHICH ENSURES ABSOLUTE PERMANENCY OF THE PHOTOGRAPH. IN A FEW YEARS HENCE WHEN MOST OF THE OLD LANDMARKS WILL HAVE DISAPPEARED THESE VIEWS WILL BE A VALUABLE MEMENTO OF KEW AS IT WAS IN 1891. ANY OF THESE ILLUSTRATIONS GAN BE OBTAINED FROM MR. H. KELLETT, HIGH STREET, KEW, IN SINGLE COPIES, IN THE SAME SIZE AS THOSE HEREIN AT 2s PER COPY. THEY MAY ALSO BE OBTAINED IN THE FOLLOWING SIZES FOR FRAMING:- / ACTUAL SIZE OF PHOTOGRAPH 15 INCHES X 12 INCHES @ 8. 6d EACH / 22 INCHES X 16 INCHES @ 15s EACH / PRIVATE RESIDENCES AND ESTATES / SPECIAL ARRANGEMENTS CAN BE MADE FOR TAKING VIEWS OF PRIVATE RESIDENCES - INTERIOR AND EXTERIOR - AND FOR GROUPS, &C., IN ANY SIZE UP TO 40 INCHES BY 30 INCHES BY THE "ARGENTIC BROMIDE" PROCESS UPON APPLICATION TO / MR H. KELLETT / HIGH STREET, KEW.kew illustrated, kew where we live, photographic books, henry kellett, jfc farquhar - photographer

Daguerreotype was the first publicly available photographic process, widely used from the 1830s to 1850s. "Daguerreotype" also refers to an image created through this process. Invented by Louis Daguerre and introduced worldwide in 1839, the daguerreotype was almost completely superseded by 1856 with new, less expensive processes, such as the ambrotype (collodion process), that yield more readily viewable images. Since the late 20th century, some photographers interested in making artistic use of early photographic processes have revived the daguerreotype process. The earliest authenticated image of Abraham Lincoln, taken soon after his election to Congress in 1846, attributed to Nicholas H. Shepard To make the image, a daguerreotypist polished a sheet of silver-plated copper to a mirror finish; treated it with fumes that made its surface light-sensitive; exposed it in a camera for as long as was judged to be necessary, which could be as little as a few seconds for brightly sunlit subjects or much longer with less intense lighting; made the resulting latent image on it visible by fuming it with mercury vapor; removed its sensitivity to light by liquid chemical treatment; rinsed and dried it; and then sealed the easily marred result behind glass in a protective enclosure. The image is on a mirror-like silver surface and will appear either positive or negative, depending on the angle at which it is viewed, how it is lit and whether a light or dark background is being reflected in the metal. The darkest areas of the image are simply bare silver; lighter areas have a microscopically fine light-scattering texture. The surface is very delicate, and even the lightest wiping can permanently scuff it. Some tarnish around the edges is normal. Several types of antique photographs, most often ambrotypes and tintypes, but sometimes even old prints on paper, are commonly misidentified as daguerreotypes, especially if they are in the small, ornamented cases in which daguerreotypes made in the US and the UK were usually housed. The name "daguerreotype" correctly refers only to one very specific image type and medium, the product of a process that was in wide use only from the early 1840s to the late 1850s.A4 pages x2. Photocopied pages. Single sided. Appears to be from a publication titled 'The Daguerreotype in America', by Beaumont Newhall. friends of the bendigo library, photography, daguerreotype

This collection of 15 photos of personnel and equipment was taken at the Army Survey Regiment, Fortuna, Bendigo, in 1992. The photos feature the inside Lithographic Squadron, external buildings, the transport compound, and the gardener’s end of the duty hut. Although these photos are not annotated most personnel are positively identified. Photos .14) to.15) feature Neil Morgan, who was a permanent ground maintenance employee.This is a set of 15 photographs of personnel and equipment at the Army Survey Regiment, Fortuna, Bendigo, 1992. The photographs are on 35mm negative film and were scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, black & white, 1992, outside Litho’s BARCRO work area (old entrance to Roman Bath) .2) - Photo, black & white, 1992, SPR Scott Cameron outside the Old OR’s Barracks. .3) - Photo, black & white, 1992, bank of the lake with Old & New OR’s Barracks. .4) - Photo, black & white, 1992, unidentified outside Q-Store buildings. .5)- Photo, black & white, 1992, records building under construction. .6) - Photo, black & white, 1992, ITEC type setter. .7) and .8) - Photo, black & white, 1992, ITEC type setter and IGX printer. .9) - Photo, black & white, 1992, IGX printer. .10) - Photo, black & white, 1992, Pakotone photographic processor. .11) - Photo, black & white, 1992, densitometer. .12) and .13) - Photo, black & white, 1992, unidentified RACT personnel in transport compound. .14) to.15) - Photo, black & white, 1992, Neil Morgan readying the ride-on lawn mower at rear end of Duty Hut. No personnel are identified.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho

historic buildingNational Trust Collection: Four negatives, for processing photographic prints; of the facade of the buildings erected at the corner of Pall Mall & Williamson Street, Bendigo. Both buildings have an open verandah with columns supporting the upper storey verandah. Two negatives each of the two-storey buildings located on this corner: * two negatives of the earlier English Scottish & Australian (ES&A) bank building, and * two negatives of the current office building, circa 1970s

Sandra Pullman visited the Melbourne City Council Exhibition, 'Melbourne Parks and Gardens Through the Magic Lantern' in November 2012. Lex Nieboer, former Burnley student graduating in 1975, found a large number of glass lantern slides in a store room and took them home as he was concerned they would be thrown out. His family has a long tradition of being involved in photography, so he understood the value of the slides. He donated the ones that were of Melbourne City Parks and Gardens to the Council and they used them in their exhibition. Sandra contacted Lex and arranged with Jane Wilson (Archivist) to visit Lex on 12 April, 2013 at Wilson Botanic Park, Berwick where he works. After Lex showed them the slides, he, very generously, donated approximately 300 slides back to the Burnley Archives. There was already a collection of almost 100 glass slides in the Archives. They were in a wooden box containing glass lantern slides with label on outside, "Slides of Horticultural Objects and Views." Inside lid is handwritten, "Mr Bailey Botanic Gardens Adelaide." (John Frederick Bailey, Director Adelaide Botanic Gardens 1917-1932.) and, "Mr Isaac 9 pla? 2 ficifolia." (Probably Mr Isaacs Mayor of Adelaide 1917.) Also, "Purchased from Estate of Reeves Late Malvern Gardens, AWJ." (F.L. Reeves, Malvern Council's Park Curator in the 1920's died in 1933. AWJ, A.W. Jessep, Principal Burnley Horticultural College 1926-1941.) These were numbers 61-85 "History of the Rose." Geoff Olive, former Staff member, remembered taking a number of glass slides to a photographic processor to have 35mm slides made from them. 60 of these are also in this collection. Also see B10.0057 for Melbourne City Council collection and, 11.0039, 12.0033 for photograph prints of lantern slides lost to the collection.Collection of approximately 400 glass lantern slides used for teaching at Burnley Horticultural College during the first half of the twentieth century. Some were made specifically for Burnley. Some images would not upload. The images include: overseas views of gardens, historical sites and geographical features (some hand coloured from Japan); a series of hand coloured images of roses with notes for teaching the history of the rose; school gardens of the early 1900's; fruit and vegetables; miscellaneous horticulltural; Australian native plants; cells; 'Living Races'; plants, trees and grasses; parasites, organisms and fungal diseases; miscellaneous horticultural scenes; parks; cattle; agricultural data.sandra pullman, lex nieboer, melbourne city council exhibition through the magic lantern, john frederick bailey, mr isaacs, f l reeves, a w jessep, history of the rose, plants, trees, diseases

Early 1900's. "Boiling the billy". The term billy or billycan is particularly associated with Australian usage, but is also used in the UK and Ireland. It is widely accepted that the term "billycan" is derived from the large cans used for transporting bouilli or bully beef on Australia-bound ships or during exploration of the outback, which after use were modified for boiling water over a camp fire. Postcards developed out of the complex tradition of nineteenth-century printed calling cards, beginning with the advent of the Cartes-de-Visite in France. In the 1850s, Parisian photographer Andre Adolphe Eugene Disderi invented a photographic process involving egg white, albumen, and silver nitrate to create inexpensive portraits on paper cards. These photographic Cartes-de-Visites were 2 1/2 (75mm) by 4 inches (98mm) and became a popular, collectable form of "visiting cards" world-wide. Photographers would reprint portraits of famous individuals they had taken at their studios or during travel and sell them as collectable cards. Postcards as we know them now first began in 1861 as cards mailed by private post. In the 1870s picture postcards grew in popularity throughout the United States, Britain, Europe, and Japan. Cards were first permitted to have a "Divided Back," with text written on the left half of a dividing line and the address on the right half, beginning in England in 1902. Around 1900 the first postcards made of "Real Photos" rather than artwork began to circulate, aided in by advances in amateur photography equipment by companies such as Kodak. Kodak also introduced postcard paper for photographic development and photography studios began to offer portraits printed as postcards Many local town, countryside, and architectural images were captured during this period by local photographers, then printed and sold as postcards . Advances in amateur photography all contributed to a postcard craze that lasted from 1900 to the First World War. Postcards were the preferred means to send a quick note, whether across town or across a continent.Postcard with a black and white Photograph on the front and a 'Divided Back ' for the message and address. There are seven men surrounding the billy suspended over a camp fire. The ground has a lot of dead branches around. One man is bending down towards the billy. Two men on either side of the camp fire are carrying either a white bag across their shoulders or the fish in their hands. You can see, that there is some steam also coming out of the billy, which means that its hot. Court Post Card. / this space may be used for correspondence. / The address only to be written here.1900's, boiling the billy , postcards, photographers, england, hungary, america, cartes-de-visite, visiting cards, moorabbin, cheltenham, bentleigh, market gardeners, early settlers, pioneers,

An original Kerr-Grant Microbalance, modified by E.J.Hartung This balance was invented in the chemistry department by Bertram Dillon Steele, later first Professor of Chemistry at the University of Queensland 1910-1930, in collaboration with Professor Kerr Grant, Physics. The design was widely used by other chemists, including Masson's mentor, Professor Ramsay, working in London on newly discovered rare gases (especially Radon), and Professor Hartung in Melbourne, investigating the chemistry of the decomposition of silver salts in photographic processes. The principle of the microbalance was to measure the change in density of a gas by the shift in the balancing beam due to a change in pressure of the gas in the balance case. The quartz balancing beam was made by Bertram Steele who was particularly skilled in glassblowing. A quartz beam is the beam of the Aston microbalance based on the Steele/Grant instrument, and described by F.W. Aston, the inventor of the mass spectrometer. The bulb at one end of the beam contained a fixed amount of air, so that a change in the pressure of gas in the balance case changed the buoyancy of the beam, yielding a displacement in the beam which could be measured. By this means, differences in weight of about 10 nanogram could be measured, in amounts of up to 0.1 gram. Such differences are significant the increase in weight of a metal sample due to surface oxidation (Steele's interest) in the weight loss due to radioactive decay of Radium (Ramsay's work), and in the estimates of density change due to the isotopic distribution of Neon (Aston). Ernst Johannes Hartung was a chemist and astronomer. Educated at the University of Melbourne (BSc 1913, DSc 1919), he became lecturer in 1919, associate professor in 1924, and succeeded Rivett as chair of chemistry in 1928, remaining in this position until 1953. Hartung?s lecturing style surged with enthusiasm and he employed the use of screen projections to demonstrate chemical phenomena to large undergraduate classes. In 1935 he recorded Brownian movement in colloidal solutions on 35 mm cinefilm, which was later copied onto 16 mm film for the Eastman Kodak Co. World Science Library. This can be viewed in the Chemistry laboratory. He researched the photo decomposition of silver halides, and was awarded the David Syme Prize in 1926. He devoted time to the design and construction of a large, new chemistry building for the School of Chemistry (built 1938?1939). During World War II he was approached by Professor Thomas Laby, chairman of the Optical Munitions Panel, to chair the advisory committee on optical materials, to produce high quality optical glass in Australia. This was successful, with large-scale production achieved within ten months at a reasonable cost. Hartung served three terms as general President of the (Royal) Australian Chemical Institute, was an ex-officio councillor of the Council for Scientific and Industrial Research, and a Trustee of the Museum of Applied Science (now part of Museum Victoria).An original Kerr-Grant Microbalance, modified by E.J. Hartung.

Photograph album containing 15 photographs of the textile processes which took place at the Valley Worsted Mill which was established in 1923.Photograph album contains 15 photographic postcards of textile processes from the Valley Mill, c.1920s. Valley Mill, Geelong, c.1920s. Wool sorting at the Valley Mill, Geelong, c.1920s. Wool scouring at the Valley Mill, Geelong, c.1920s. Woollen carding at the Valley Mill, Geelong, c.1920s. Worsted carding at the Valley Mill, Geelong, c.1920s. Combing and drawing at the Valley Mill, Geelong, c.1920s. Woollen spinning at the Valley Mill, Geelong, c.1920s. Worsted spinning at the Valley Mill, Geelong, c.1920s. Winding at the Valley Mill, Geelong, c.1920s. Warping at the Valley Mill, Geelong, c.1920s. Weaving at the Valley Mill, Geelong, c.1920s. Mending at the Valley Mill, Geelong, c.1920s. Wet finishing at the Valley Mill, Geelong, c.1920s. Dry finishing at the Valley Mill, Geelong, c.1920s. Warehouse at the Valley Mill, Geelong, c.1920s.PHOTOGRAPHS THE / VALLEY WORSTED MILLS / GEELONG WOOL SORTING / WOOL SCOURING / WOOLLEN CARDING / WORSTED CARDING / COMBING & DRAWING / WOOLLEN SPINNING / WORSTED SPINNING / WINDING / WARPING / WEAVING / MENDING / WET FINISHING / DRY FINISHING / WAREHOUSE C.J. Frazer Photographer / Melbournetextile mills warehouses, weaving, textile production, textile mills, valley worsted mill, scouring, carding, combing, drawing, spinning, winding, warping, wet finishing, mending, milling, dry finishing, textile mills - warehouses

This original letter was handwritten and dated 21 January 1884. The author is Eveline V. Carmichael, of 29 Montpellier Villa, Cheltenham. Eva Carmichael was the only woman survivor of the iron clipper LOCH ARD, which was wrecked on 1 June 1878, at the subsequently named Loch Ard Gorge near Port Campbell. The letter was written to Mr J Archibald, first curator of the Warrnambool Mechanics Institute Museum, and was in response to a letter he wrote to Miss Carmichael on 1 December 1883. A complete transcript of Eva’s letter is attached as a Hard Copy Supplementary File. The letter first addressed the subject of her reply. She writes, “Thank you very much for thinking of me with regard to the volume of Longfellows Poems that have been found by Mr HW Davis [at Loch Ard Gorge], the book is not mine, nor did it belong to any members of my family. We had a ‘Longfellows’, but our book had a green cover.” The rescued book is on display at Flagstaff Hill (541) and has a blue cover. Another interesting aspect to her letter is its reference to the only other survivor from the LOCH ARD. As a postscript she writes, “You will be glad to hear that Tom Pearce is now on board the HMS Solvent. I heard from him last month he wrote from the West-Indies and seemed well and in good spirits. I have not seen him since we parted in Melbourne. I believe he is to be married next year, or perhaps this, but I do not know the young lady.” Tom Pearce was the young, male, able seaman who had risked his life to save her. In the months after the shipwreck, an excited public press speculated of a romantic connection between the two survivors, but this was clearly not the case. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Number S417 Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. A photocopy of a letter, handwritten in ink on both sides of 4 small sheets of thick, light blue paper. The letter is in neat cursive script. The writing originally covered 7 sides of the note paper and has been reproduced as 7 separate pages. It is dated 21 January 1884, five and a half years after the LOCH ARD shipwreck. The letter is from Eva Carmichael, one of only 2 survivors from that disaster, and is addressed to J. Archibald, first curator of the Warrnambool Mechanics Institute Museum. The copies include the reproduction of a typed index card which accompanies the original letter. The card states: “Photographic copy of the letter written by Eva Carmichael to Mr J Archibald, first Curator of the Warrnambool Museum. The original letter is kept with other documents, but the writing being on both sides of the note-paper it was not possible to read in its entireity when on display”.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, loch ard, survivor’s letter, eva carmichael, longfellow’s poems, warrnambool mechanics institute museum, joseph archibald, henry davis

500 of these books were printed, and many were used in the field, making good copies very rare. A simple but detailed account of the process written especially for the working miner and the small syndicate, the Quintessential Australian gold Mining book.Orange, hard, cloth covered b270 page book with brown dust jacket. Chapters include sampling sand and slime dumps; treating sand; aeration; treatment of slime; smelting; solution testing; cyanide solution; air- slaked lime; cyanding in Queensland; copper troubles; treatment of concentrates; amalgamations; assaying; floatation; chemistry; testing for minerals. Includes photographic reproductions of a cyanide plant for sand; aeration tower; mixer tank; Eleanora cyaniding plant; mining, gold, cyanide, cyaniding, leaching, smelting, slimes

This glass slide captures the unveiling of the two cannons at Queen Victoria Park which were secured by Sir Isaac Isaacs and presented to Beechworth in 1901. In the foreground, elegantly dressed ladies and dapper gentlemen can be seen gathering around the park's iconic rock, with excited children looking on from the sides. Atop of the rock stands an intricately designed gas lamp that has since been removed but evidence of its existence still remains. The unveiling of these two cannons would have been a celebratory affair for those in attendance, marking a momentous occasion for Beechworth residents that was captured in this lantern slide. Sir Isaac Isaacs was an influential figure in Beechworth, having grown up and studied there. He began his education at the Common school and eventually graduated as dux of the Beechworth Grammar School. His commitment to public service was evident early on and he was elected to the Legislative Assembly in 1892, representing Bogong, a district which included Yackandandah and Beechworth. During his time in office he pushed for better education, healthcare, employment opportunities and housing for the people of Beechworth. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide captures social and historical significance as it represents a moment of celebration for Beechworth residents and symbolises an important milestone in the town's history. This lantern slide stands testament to a special moment in Beechworth’s history and its significance continues to be remembered today. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide. burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, queen victoria park, rock, victoria, cannons, isaac isaacs, governor-general, politicians, judges, indigo shire, north-east victoria, 19th century, nineteenth century, parks

This image shows a pathway in the gardens adjacent to Beechworth's Town Hall at the beginning of the Twentieth Century, around the time of Australia's Federation. The pathway leading to a circular rotunda or covered seating area with a steep conical roof is lined with shrubs set in grass verges that appear to be covered with snow. It is unknown whether the snowfall or a factor to do with the gardens occasioned the taking of the image, which at the time may have been an exotic practice. Climate records going back to 1908 indicate that snow in winter is not unusual due to Beechworth's elevation and orientation, and the Town Hall itself was built in 1859. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques. This glass slide is significant because it provides insight into Beechworth's social amenities and climate in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, town hall, town hall gardens, snow, rotunda, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides

Beechworth's Anglican Church, Christ Church St Peter and St Paul, has served the Beechworth community since 1858 in its present form, following its beginnings in a tent in 1855. The Victorian branch of the National Trust classified the building as regionally significant in 1959 and the organ as of significance to the nation in 1992. Building a place for Anglican worship was a priority in the early days of Beechworth's settlement as the town was a site of regional administration due to its association with the economic and social expansion of Victoria during the Gold Rush period. The Church garden features several significant trees monitored by the Beechworth Treescape Group, including a cork oak growing near the Ford Street entrance, an Atlantic cedar, a bunya or bunya-bunya pine and two kurrajongs. Some of these long-established trees may be visible in this lantern-slide image. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: 1 /beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, christ church, indigo shire, north-east victoria, churches, architecture, anglican, religion, atlantic cedar, organ, magic lantern, christ church st peter and st paul, beechworth treescape group, cork oak, bunya pine, bunya bunya, kurrajong, quercus suber, cedrus atlantica f. glauca, araucaria bidwillii, brachychiton populneus

This image shows the gorge adjacent to Beechworth in approximately 1900. Although the exact location of the photograph is yet to be determined, the present-day Beechworth Gorge Walk includes views of the Cascades at the point at which Spring Creek flows into the valley on the level below. Gold-sluicing techniques in use in the town during periods of active gold extraction may have altered the landscape since the photograph was taken, however. In the 1850s a mill was built at the top of the Spring Creek falls by Russian-born Louis Chevalier, brother of artist Nicholas Chevalier. The mill supplied the town with lumber that supported the town's initial construction boom. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, indigo shire, north-east victoria, spring creek falls, beechworth gorge, louis chevalier, nicholas chevalier, lumber industry, timber industry, 1850s, construction, building, mill, mills, waterfall

This image shows a semi-aerial view of a property along a river adjacent to Beechworth in approximately 1900. The photographer has capitalised words in the label, indicating that 'The Precipice' may have suggested a particular rather than a general vantage point to local people at the time. Although the exact location of the photograph is yet to be determined, Beechworth Gorge is popular today with hikers and nearby Mt Stanley is noted for its views. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: Image from The Precipice. /burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, views, landscapes, farmsteads, rivers, beechworth gorge, mt stanley, emulsion, the precipice