In 1883 The Orient Steam Navigation Co. Ltd., of London signed a contract with the Government of New South Wales, Australia to carry emigrants from the United Kingdom. The Company would be paid £15 per head for up to four hundred persons and £14 and 10 Shillings for numbers between four and six hundred persons per voyage.A reproduction print of a painting by AV Gregory of the vessel Ormus, 1887. The print is mounted under glass and framed in a dark brown timber frame.rms ormuz, reproduction print

Famous French artist Jean Baptiste Camille Corot, 1796-1875, was trained in the classical landscape style. His inspiration came from his travels around France and Italy. He developed a soft poetic or romantic style of work which became very popular. He had the skills to bring'light' into his paintings. The original oil on canvas painting by Corot is held at The National Gallery in the United Kingdom. It is titled 'Souvenir of a Journey to Coubron' and is one of twenty-seven of his works at the Gallery. Corot visited Coubon, east of Paris, many times. In 1873 during his stay there he sketched the scene that became the basis of this painting. This reproduction print was made by The Medici Society Ltd., founded in England 1908. The Society's aim was to make artwork affordable and available to the general public. The name Medici was chosen to honour the support and encouragement given to artists in the 15th century by Lorenzo de' Medici (1449 - 1492), known as Lorenzo the Magnificent, and his family. His profile is on the company's trademark. The Medici Society still produces Fine Art reproduction prints as well as selling original works. The print was framed by Westminster Art Gallery in Camperdown, London. The handwritten text on the back of the artwork adds some background to the artist: Corot was apprenticed to a Draper but changed to his profession at the age of 22 years. When he went from a poor artist to achieving wealth and fame he generously supported his less fortunate fellow artists. Corot found that the light and shade in a natural scene meant more to a landscape painter that what could be learned by following the principles of the academies. Corot was 51 years old before he sold his first picture. He though that he was the only artist that could really paint 'light'. The National Gallery, Victoria, has an original oil on canvas by Corot "the bent tree", created 1856-1860. It is in a similar style to this print "Souvenir of a Journey to Coubron", which was likely to have been painted around the same time.This high quality reproduction print was produced in the early-to-mid 1900;'s. This advancement in technology allowed everyday people to own and enjoy the fine art that was previously only accessible to the wealthy. The print is significant for its association with the famous 19th century artist Jean Baptiste Camille Corot.Print of a painting by Jean Baptiste Camille Corot, depicting a landscape with two buildings amongst trees and a boatman in the marshy foreground. The print is famed in carved timber with a cream matt, behind glass. there is an inscription on bottom right of print and further stamped and handwritten inscriptions of the reverse paper. The is a genuine Medici Society Fine Art reproduction print and was framed by Westminster Art Gallery.Original artwork painted and signed by artist "COROT" White sticker with"32" Reproduction print by the Medici Society, London Stamp "Westminster Art Gallery / 91 CAMBERWELL RD. / CAMBERWELL E.6." Text on Corot's history Underlined statement "GENUINE MEDICI PRINT "flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, jean-baptiste-camille corot, french artist, jean corot, camille corot, print, souvenir of a journey to coubron, coubron, 19th century artist, medici society, reproduction print, westminster art gallery, fine art

A series of six prints showing various stages of labour, donated to the College in 1999. This print was used on the antenatal clinic of St George's Hospital, Kew, Victoria.Black and white reproduction print of a plate from a book, enclosed in a wooden frame. Text at the top of the print reads 'BEFORE LABOR | BIRTH ATLAS | PLATE 8'. The plate depicts a detailed cross section image of a baby in the womb. Label attached to back of work reads: 'Robert Latou DICKINSON and Abram BELSKI/ Plate 8. Before labour/From: Birth atlas: reproduction of twenty-four life size sculptures of fertilization, growth,/stages of labour and involution./New York: Maternity Center Association, 1943. 6th ed./Gift of St Georges Hospital, Kew, 2000'.BEFORE LABOR | BIRTH ATLAS | PLATE 8obstetric delivery

A series of six prints showing various stages of labour, donated to the College in 1999. Used in the antenatal clinic of St George's Hospital, Kew, Victoria.Black and white reproduction print of a plate from a book, enclosed in a wooden frame. Text at the top of the print reads 'BIRTH OF SHOULDERS ROTATION PLATE 13'. The plate depicts a detailed cross section image of a baby in the womb. Label attached to back of work reads: 'Robert Latou DICKINSON and Abram BELSKI/ Plate 13. Birth of shoulders rotation/From: Birth atlas: reproduction of twenty-four life size sculptures of fertilization, growth,/stages of labour and involution./New York: Maternity Center Association, 1943. 6th ed./Gift of St Georges Hospital, Kew, 2000'.BIRTH OF SHOULDERS ROTATION PLATE 13obstetric delivery

A series of six prints showing various stages of labour, donated to the College in 1999. This print was used in the antenatal clinic of St George's Hospital, Kew, Victoria.Black and white reproduction print of a plate from a book, enclosed in a wooden frame. Text at the top of the print reads 'LABOR CERVIX DILATING & BAG OF WATERS PLATE 9'. The plate depicts a detailed cross section image of a baby in the womb. Label attached to back of work reads: 'Robert Latou DICKINSON and Abram BELSKI/ Plate 9. Labor cervix dilating & bag of waters/From: Birth atlas: reproduction of twenty-four life size sculptures of fertilization, growth,/stages of labour and involution./New York: Maternity Center Association, 1943. 6th ed./Gift of St Georges Hospital, Kew, 2000'.LABOR CERVIX DILATING & BAG OF WATERS PLATE 9obstetric delivery

A series of six prints showing various stages of labour, donated to the College in 1999. This print was used in the antenatal clinic of St George's Hospital, Kew, Victoria.Black and white reproduction print of a plate from a book, enclosed in a wooden frame. Text at the top of the print reads 'FULL DILATION CERVIX HIGH HEAD DEEP IN PELVIS PLATE 10'. The plate depicts a detailed cross section image of a baby in the womb. Label attached to back of work reads: 'Robert Latou DICKINSON and Abram BELSKI/ Plate 10. Full dilation cervix high head deep in pelvis/From: Birth atlas: reproduction of twenty-four life size sculptures of fertilization, growth,/stages of labour and involution./New York: Maternity Center Association, 1943. 6th ed./Gift of St Georges Hospital, Kew, 2000'.FULL DILATION CERVIX HIGH HEAD DEEP IN PELVIS PLATE 10obstetric delivery

A series of six prints showing various stages of labour, donated to the College in 1999. This print was used in the antenatal clinic of St George's Hospital, Kew, Victoria.Black and white reproduction print of a plate from a book, enclosed in a wooden frame. Text at the top of the print reads 'ABDOMINAL MUSCLE DRIVE PELVIC FLOOR THIN PLATE 11'. The plate depicts a detailed cross section image of a baby in the womb. Label attached to back of work reads: 'Robert Latou DICKINSON and Abram BELSKI/ Plate 11. Abdominal muscle drive pelvic floor thin/From: Birth atlas: reproduction of twenty-four life size sculptures of fertilization, growth,/stages of labour and involution./New York: Maternity Center Association, 1943. 6th ed./Gift of St Georges Hospital, Kew, 2000'.ABDOMINAL MUSCLE DRIVE PELVIC FLOOR THIN PLATE 11obstetric delivery

A series of six prints showing various stages of labour, donated to the College in 1999. This print was used in the antenatal clinic of St George's Hospital, Kew.Black and white reproduction print of a plate from a book, enclosed in a wooden frame. Text at the top of the print reads 'HEAD TURNS UPWARD PELVIC FLOOR RETREATS PLATE 12'. The plate depicts a detailed cross section image of a baby in the womb. Label attached to back of work reads: 'Robert Latou DICKINSON and Abram BELSKI/ Plate 12. Head turns upward pelvic floor retreats/From: Birth atlas: reproduction of twenty-four life size sculptures of fertilization, growth,/stages of labour and involution./New York: Maternity Center Association, 1943. 6th ed./Gift of St Georges Hospital, Kew, 2000'.HEAD TURNS UPWARD PELVIC FLOOR RETREATS PLATE 12obstetric delivery

Built in 1874 in Sunderland England she was employed carrying cargo around the world and rounded Cape Horn 23 times in 26 years. In 1900 she was acquired by Mr J J Craig, renamed James Craig in 1905 and began to operate between New Zealand and Australia until 1911. Unable to compete with freight cargo, in later years James Craig was used as a collier and later laid up, then used as a hulk, until eventually being abandoned at Recherche Bay in Tasmania. In 1932 she was sunk by fishermen who blasted a 3-metre hole in her stern. Restoration of James Craig began in 1972, when volunteers (now the Sydney Heritage Fleet) refloated her and towed her to Hobart for initial repairs. Brought back to Sydney under tow in 1981, her hull was placed on a submersible pontoon to allow work on the hull restoration to proceed. Over twenty-five years, the vessel was restored and relaunched in 1997. In 2001 restoration work was completed and she continues to go to sea.Mr Robeert Greenway A framed reproduction of a painting by Oswald L Brett on canvas paper of the Barque James Craig 1874 Barque James Craig 1874. Images of two flags; a red ensign and a ships flag 'Craig'; Oswald L Brett N.Y. 1978 james craig, windjammers, barque

This is an image of a public square on the island of Kos in Greece. Kos was the home of Hippocrates, and the tree in this image is reputedly the plane tree under which Hippocrates sat as he taught his pupils medicine. Hippocrates is known as the "Father of Medicine" for his revolutionary impact on the field of medicine. The letters 'A.P.D.R' printed below the title on this artwork refer to the copyright granted to engravers in France.Black and white engraving of a market square scene on the island of Kos in Greece. A large tree dominates the scene. Below the tree sits a roofed structure with a series of small steps. Water appears to be coming out of a channel of each of the visible sides of the structure, suggesting a fountain. To the left, an array of human figures, horses and a dog sit or stand beneath the tree and on the steps of the fountain. To the right, there are shaded platforms on which people are sitting in groups. There are three dogs in front of the group sitting on a platform at bottom right. Text printed below image reads 'VUE DE LA PLACE PUBLIQUE DE COS/A.P.D.R.' Small, printed text below bottom left corner of image is partially illegible, but it references the original creator of the artwork, Jean-Baptiste Hilair. Small printed text below bottom right corner of image reads ' Gravé à l'eau forte par C. Weisbrod/ el terminé au burin par J. Aliamet'. Small printed text above top left hand corner of image reads 'Pl. 59.' The print has been framed in a brown wooden frame with gold trim. An old display label is affixed to the back of the object. A card from Professor Franco Crainz is affixed to the back of the object, thanking the unnamed receiver for a reprint of their "interesting paper on D.D.Davis' Obstetric Atlas". The front of the card carries a print of the Temple of Esculapia, located in the Villa Borghese in Rome. A wire and two hooks have been attached to the rear of the work for hanging.There is black and white engraving of a market square scene on the island of Kos in Greece. Text printed below image reads 'VUE DE LA PLACE PUBLIQUE DE COS/A.P.D.R.' Small printed text below bottom left corner of image is partially illegible, but it references the original creator of the artwork, Jean-Baptiste Hilair. Small, printed text below bottom right corner of image reads ' Gravé à l'eau forte par C. Weisbrod/ el terminé au burin par J. Aliamet'. Small, printed text above top left-hand corner of image reads 'Pl. 59.' The print has been framed in a brown wooden frame with gold trim. An old display label is affixed to the back of the object. A card from Professor Franco Crainz is affixed to the back of the object, thanking the unnamed receiver for a reprint of their "interesting paper on D.D.Davis' Obstetric Atlas". The front of the card carries a print of the Temple of Esculapia, located in the Villa Borghese in Rome. A wire and two hooks have been attached to the rear of the work for hanging. The letters 'A.P.D.R' printed below the title on this artwork refer to the copyright granted to engravers in France.medicine

Large format black and white reproduction of Eugene Von Guerard drawingeugene von guerard, black and white photography

The original artwork painted by William Yates Holt Titcomb (1858-1930), an English artist specialist in religious subjects, is located in Clifton College Chapel, Bristol, England (visible in their virtual tour online). The original title draws on the Giving of Communion words: The body of our Lord Jesus Christ, which was given for you, preserve your body and soul unto everlasting life. Take and eat this in remembrance that Christ died for you, and feed on him in your heart by faith with thanksgiving. The blood of our Lord Jesus Christ, which was shed for you, preserve your body and soul unto everlasting life. Drink this in remembrance that Christ's blood was shed for you, and be thankful. The body of Christ. The blood of Christ. The body of Christ keep you in eternal life. The blood of Christ keep you in eternal life. The body of Christ, broken for you. The blood of Christ, shed for you. The bread of heaven in Christ Jesus. The cup of life in Christ Jesus.FigurativeReproduction ( Lithograph?) framed mounted and glazed print. The image shows a group of soldiers kneeling before a makeshift altar during World War One in Flanders field with a Red Cross flying on a flag pole at the far right of the composition. A Union Jack flag is being used as an improvised altar cloth. A priest or chaplain in a surplice, also a soldier , administers the sacrament to the reverent congregation. The print is glazed with a substantial window mount and housed in a dark wood frame with eyelet screws and very rusted hanging wire.Preserve Thy Body + Soulpainting, world war one, ww1, wwi, soldier, priest, altar, union jack, red cross, red cross flag, titcomb, andre sleigh and anglo ltd, clifton college, royal academy exhibition, 1915, preserve thy body and soul, reproduction print, the soldiers' communion, william yates holt titcomb (1858-1930), artwork-paintings

This framed lithograph print in watercolour and gouache was produced on November 19th, 1924, by 20th-century marine artist, Mr R.N. Duffield. It depicts the event of a sea rescue that took place two years earlier. The framer was A.L. Frith of Footscray, Melbourne, who actively advertised from 1933 to 1935. The now disbanded Shiplovers' Society of Victoria (1930-2018) donated the print, and it seems likely that this print was framed for that organisation. This graphic image shows the conditions in which the rescue from the wrecked Helen B. Sterling happened. Captain George Harris was master of the American-owned, four-masted windjammer. His wife Edith and their ten-year-old son Leslie were on board, along with a crew of fifteen seamen. The ship set off from Newcastle, NSW, on January 5th, 1922, loaded with a cargo of coal to deliver to the Society Islands and on to San Francisco. Young Leslie later wrote a lively school composition for his teacher about his experiences on board the Helen B Sterling. He tells of a fire that broke out the day after they departed and burned a hole in a beam. Then another troublesome time on the 9th, when a strong gale blew a sail off the ship. Finally, he tells of the highlight of his voyage when, on the 18th January, the ship was right in the path of a strong cyclone, which broke the mainmast. Huge waves crashed over both sides of the deck, meeting in the middle, and the ship began to sink. The rescue from the wreck was an exciting time for the young boy, and even more so when one of his cats survived after being carefully wrapped in a pillowcase and thrown down from the ship for the boy. Reporters later wrote about Leslie’s comments, “... what had grieved him most was the thought that he might never see his two little sisters again”. Captain Harris said in a published statement, “… the gale was the worst he had met in his 12 years’ experience at sea. All went well for the first week. We then encountered a strong blow from the south-east. We tried the gasoline pump, but the engine broke down, and we had to do the pumping by hand. We at once shortened sail, but the sea increased in fury to such an extent that men were washed from the pumps. I was below at 5:30 on Sunday morning [January 22nd, 1922] when the main mast went over the side, … I at once sent out SOS signals, and got word that HMAS Melbourne was coming to our assistance. I had made a mistake with regard to our position, but did not know it until 11:30 o’clock, when I sent out the correct location. This was picked up by the Melbourne and I received the following reply: “We will reach you about 2 am. Keep a good heart. The Melbourne will do all she can.” Our ship was practically awash when we were taken off.” (Ref: the ‘Helen B. Sterling Disaster’, Maitland Weekly Mercury, NSW, 4-2-1922.) Officers from the Royal Australian Navy, Captain Henry J Feakes (later Rear-Admiral) and Commander Wilfrid Ward Hunt, were on board the light cruiser, HMAS Melbourne (1913-1928), when it left Sydney for New Zealand. After the SOS was received, the ship sped at full steam towards the sinking Helen B. Sterling. They found the vessel at about midnight and shone bright search lights on the distressed ship to illuminate the desperate scene. The Melbourne was unable to move close to the schooner, so sixteen seamen, including Commander Hunt, volunteered to man the Melbourne’s lifesaving 12-oared cutter. They rowed the sea boat with great urgency towards the victims of the sinking ship, keen to save lives no matter what the conditions. When the cutter was close to the Sterling, a line was secured between the Sterling and the cutter. The weary, waterlogged and anxious men on board could be rescued, one at a time, in the breeches buoy equipment, which looked like canvas shorts with a lifesaving ring in the waistband. The victims were hauled along the line and pulled aboard by many willing hands. All eighteen crew and passengers were saved, including Captain Harris and his family. The seamen of the Melbourne received a heroes’ welcome when they arrived in New Zealand. The grateful survivors were taken to Auckland, where they received the care and comfort they needed. Melbourne’s Lord Mayor, Cr. Swanston, on behalf of the citizens of Melbourne, formally recognised the heroic rescue efforts of the seamen of the HMAS Melbourne on March 2nd, 1922, at a special presentation. Two large flags, a White Ensign and an Australian “Jack" Flag, were presented to the Captain of HMAS Melbourne, and souvenirs were awarded to the sea boat’s crew and its Commander, Wilfred Ward Hunt. Commander Hunt was also presented with an original watercolour depicting the heroic rescue from the wreck of the Helen B. Sterling, painted just after the event by renowned marine artist Arthur V Gregory (1867-1957), and he received a silver cigarette case bearing the City’s coat of arms and the inscription, "To Commander Ward Hunt from the Citizens of Melbourne as a memento of the rescue of the crew of Helen B. Stirling by H.M.A.S. Melbourne, on 23.1.22". Both the painting and the cigarette case are now treasured items inherited by his grandson; a reminder of “… a very fine naval gentleman who believed in leading by example." R.N. DUFFIELD: - The Lithograph print in our collection by 20th-century English artist R.N. Duffield is dated Nov. 19, 1924. It is very similar to, and possibly created from, the original A V Gregory watercolour presented to Commander Hunt and dated 1922. Mr R.N. Duffield has art works in the Yarmouth Museums, Norfolk Museums Collection; “Orient Liner Otranto …,” and "Convoy of six ships at sea", both painted in watercolour and gouache during the 1940s. Some of his other works, also painted in watercolour and gouache, have been advertised for sale on Internet sites. Some details differ between the original A.V. Gregory and this Lithograph Print: - -the words on the bow on the original watercolour are “Helen B. Sterling, Blain”, which is in Washington, USA, where the Sterling Shipping Company was registered from around 1919; the words on the print are “Helen B. Sterling, Halifax, N S”, for Nova Scotia, Canada, which is the hometown of Sterling Shipping Company founder’s wife, Helen B Sterling. -The watercolour is coloured and has fine details; the print is monochrome - The A V Gregory signed the watercolour in 1922, on the lower left; the print is signed with the Lithographer’s name on the lower right; “R N Duffield, Nov. 19. 1924” ARTHUR VICTOR GREGORY (1867-1957): - A.V. Gregory is a renowned marine artist who worked in watercolour and gouache. He painted actively between 1899 and 1932, creating over 3o0 works. South Melbourne, Victoria, was where he lived and worked. This Lithograph print is significant in that it depicts the rescuing of the passengers and crew of the schooner “Helen B Stirling”. At the time this was a significant event that made most Australian and New Zealand papers because of the involvement of the Australian cruiser “Melbourne”. The image demonstrates the perilous conditions experienced by seafarers. It includes an example of the line and breeches buoy method used to save lives at sea from the 1860s and into the 20th century. It reflects a time in our history when sail and steam ships cruised the world’s seas together, the former trading with a cargo of coal from Newcastle, the latter defending our country in World War I. The print is part of Flagstaff Hill Maritime Museum’s Collection of maritime artworks that depict famous events, vessels and locations, showing the evolution of sea craft, and aiding the interpretation of our maritime history. The Lithograph print is behind glass in a black painted timber frame and mounted under a cream matte. The vivid image depicts a sea rescue in progress. The night scene is illuminated by a light beaming from a steamship, the Cruiser HMAS Melbourne. It reveals figures on the deck of a sinking sailing ship, the schooner Helen B. Sterling, as foaming waves roll across it. The stricken ship has a broken main mast, and a sail has been detached. A small figure is floating in the choppy sea, secured in a breeches buoy that is attached to a rescue line between a lifesaving cutter and the sailing ship. The crewmen in the cutter are ready to haul the shipwrecked victim aboard, while the figures on the foundering ‘Sterling’ watch them. The print’s paper-covered wooden backboard is attached to the frame with small tacks. A metal hanging wire is secured to two dissimilar eyelet screws. Inscriptions include text on the bow of the sinking vessel, a handwritten title below the picture, and a handwritten name in the print’s lower right corner. On the reverse are two oval, black ink stamps and a round cream label with printed text. The hand-painted print was reproduced from a lithograph, signed in the lower right, by R.N. Duffield of England, on November 19th, 1924. A Frith of Footscray, Melbourne framed it. Painted on the ship’s bow: “HELEN B. STERLING / HALIFAX N S” [Nova Scotia, Canada] Handwritten below the print: “AUSTRALIAN CRUISER “MEMBOURNE” (Tons 5600) rescuing crew of sinking four-masted schooner “HELEN B. STERLING” of Halifax NS Canada, Tons 1343 in a gale in the Pacific Ocean.” Handwritten on lower right: “R.N. DUFFIELD / Nov. 19. 1924” (underlined) On paper label: “Phone: / Footscray 398 [some of the text has torn off] / “A. FRITH / PICTURE FRAMER / Manufacturer / 17 Paisley Street / Footscray.“ On both oval stamps: “SHIPLOVERS SOCIETY OF VICTORIA / LIBRARY” flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, lithograph, lithograph print, reproduction print, helen b. sterling, the sterling, american owned schooner, halifax, halifax n s, halifax nova scotia, nova scotia, halifax n s canada, schooner, windjammer, sailing ship, four-masted ship, captain george harris, george harris, edith harris, leslie harris, sterling shipping line, hmas melbourne, hmas melbourne (1), cruiser hmas melbourne, the melbourne, australian cruiser, captain henry j feakes, commander wilfred ward hunt, sinking ship, shipwreck, sea rescue, gale, cyclone, 1922 rescue, shipwreck rescue, breeches buoy, line rescue, rescue line, lifesaving, cutter, cutter melbourne, sea boat, lifesaving crew, 12-oar cutter, shipwreck victim, r.n. duffield, marine artist, nov. 19. 1924, 20th century artist, a frith, footscray picture framer, shiplovers’ society of victoria, shiplovers’ society library, watercolour, a v gregory, arthur victor gregory, melbourne artist, newcastle coal, newcastle nsw, society islands, san fracisco, aukland new zealand, school composition, ship’s cat, sos signal, lord mayor cr. swanston, heroes, cigarette case

CEMA Art collection Previously located in History HouseThe print depicts a night view of a city street. In the foreground are ghosly figures completing a military march along a wide street. On the left side is a large white Remembrance Shrine with three flags hanging on individual flagpoles. In the background are numerous multi-storey buildings with a row of light streetlights in front. The work is completed in various shades of blue and mounted with brown card. Framed with a gold and black frame, the work has an exposed canvas.Front: Brass embossed plate: THE IMMORTAL SHRINE BY WILL LONGSTAFF COPYRIGHT REGISTERED Back: (No inscriptions)

KENNETH JACK WAS AN AUSTRALIAN WATERCOLOUR ARTIST WHO SPECIALISED IN PAINTING THE IMAGES OF AN ALMOST FORGOTTEN AUSRALIAN OUTBACK LIFEKENNETH JACK WAS ACTIVE IN CLUNES IN THE EARLY 1970'S AND ONE OF HIS WORKS IS INCLUDED IN "CLUNES - GHOST TOWNS OF AUSTRALIA NO.2"COLOURED IMAGE OF CLUNES STREETSCAPE, OF FRASER STREET, BUILDINGS STATE SAVINGS BANK, CLUB HOTEL, WALLACE NICHOLL FROM THE CORNER OF FRASER AND TEMPLETON STREETS, CLUNESSIGNED IN BLACK: KENNETH JACK 1970clunes, fraser street clunes, kenneth jack

Copy print of a sepia toned image of a Bendigo Tramways Co. Ltd steam tram motor (No. 2) and trailer No. 6, possibly on the depot access track. Shown as a W. H. Robinson photograph, was scanned from a block mounted print. Has in pencil "1892 - 1902" reproduced on the photograph. Trailer No. 6 has a roof advertising board "Drapery half price Beehive Sale". shows in detail the presentation of the trams, painting scheme, bogie arrangements. Two copies held. 4369.2 - Black and White copy print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Added 30/6/2013. Has 'WJ T168" written in ink on the front of the photograph. See item 9464 for a glass plate negative of this image and 987 and 1439 for other images.Yields information about Bendigo steam tram and their trailers.Black and White reproduction printCopy 1 - Has "17)" in the top left hand corner of the front of the photograph. On the rear "(8)" in pencil in the top left hand corner. In pencil and ink "Bendigo Tramways (steam system) 1892", "Copied from William H Robinson / Leonard C. Bennetts Collection" and a "William F Scott" address label in the bottom right hand corner. Also has cropping instructions and other marks. Copy 2 - In pencil "Bendigo / William H Robinson / Leonard C. Bennett Collection" 4369.1 - on rear in ink "Bendigo No. 2 Motor, No. 6 Car, Mollison St. 1895" Motor No. 2 by Baldwin B/No. 12242 of 1891" Has Wal Jack copyright stamp on rear and number T168 written in.trams, tramways, bendigo, mollison st, steam trams, trailers, tram 2, tram 6

A Victorian F-class steam locomotive and passenger train at Eltham Railway Station, c.1904 Intending passengers were able to walk down from the Main Road straight onto the railway platform as the station initially only had tracks on the far side. The rail yard and storage shed for heavy goods is across the tracks. The platform shed-like building is best seen in the 1910 and 1912 photographs. The Victorian Railways F class locomotives were built in 1874 (the pattern engine), 1876–77 and 1879–80 by Beyer, Peacock & Company and the Phoenix Foundry in Ballarat as 2-4-0 tender locomotives. They were normally used on passenger trains. In 1911 the Victorian Railways decided to convert seven of them into "motor" locomotives. These became 2-4-2 tanks. They kept their numbers 172–184 (evens only). The unrebuilt tender engines were taken off register between 1916 and 1922. The "motors" were taken off register between 1920 and 1929. Photographer: J.H. Clark John Henry Clark was the youngest of three boys born to William Henry Clark (1823-1877) and Maria White (1843-1914). He and his brothers, William Charles Clark (1872-1945), Clement Kent Clark (1874-1912) operated a photography business (Clark Bros.) from 25 Thomas Street, Windsor near Prahran during the period c.1894 to 1914. Following death of Clement in September 1912 and their mother in 1914, the Clark Bros business appears to have dissolved, the premises demolished, and a new house was under construction in 1915. John set up business independently in 1914 operating out of 29 Moor Street, Fitzroy where he is registered in the 1914 and 1915 Electoral Rolls. By 1916 John had relocated to Eltham where he continued his practice as a photographer and took many of the early images around the district of Little Eltham. Around 1930 John changed professions and opened a small cobbler's shop in 1931 near the pond opposite Dalton Street adjacent to the Jarrold family cottage. He never married and continued his profession as a bootmaker from this little shop, maintaining a close relationship with Mrs Jarrold for the rest of their lives. His bootmaker shop remains today beside the Whitecloud cottage and is one of only three remaining shops in the area from the early 20th century. There are a couple of images of Eltham taken by Clark Bros. in the Eltham District Historical Society collection, one such example being Hunniford’s Post Office with Miss Anne Hunniford out front (EDHS_00140 - marked on the back of the print, Clark Bros., 25 Thomas St. Windsor), which would date this image between c.1894 and 1914. Other early images of Eltham taken by John Henry Clark are marked on the face “J. H. Clark Photo” and it is assumed these are dated between 1914 and 1930. It is noted that the Grant of Probate for John H Clark of Eltham South dated 5 April !957 (513/387) records his occupation as "X Photographer".Reproduction print of a Clark Photo postcardeltham railway station, postcards, steam train, j.h. clark photo, f-class 2-4-0 steam locomotive, victorian railways, tait train

Photo of a double deck horse tram, at the Sandringham - Beaumaris Tramway terminus c1900. Shows a very loaded horse tram and the company's name on the side of the tramcar.Shows a double deck horse tram on the Sandringham to Beaumaris tramway.Reproduction print of Rose Series postcard P953 on paper.trams, tramways, horse trams, sandringham, hotels, beaumaris, rose series

Antonio and Angelina Casonato with their four children and a baby cousin taken with lettuces growing on the river flat at Bell Street, Fabbro Farm (Fabbro Fields) in front of Eltham High School in the late 1960s. The site of the Fabbro farm (Diamond Creek side land) is now made up of Fabbro Fileds and Barrack Bushlands. This title is fairly recent after the Shire of Eltham purchased the land, including the last section in 1993/94. About this time the area on the west side of Falkiner Street was purchased by a private developer and developed as housing. The area in Bell Street opposite the Eltham High School was purchased by the State Government is recent years and is called Fabbro Fields. The Fabbro Family operated their farm in Bell Street, Eltham. 1 black and white photograph reproduction print (low quality)fabbro's farm, bell street, eltham, farming, vegetables, angelina casonato, antonio casonato, fabbro family, fabbro farm, fabbro fields

This certificate was awarded to Beechworth Fire Brigade for winning the eight men hose & reel practice at the inter-colonial Demonstration held at Albury, NSW on January 1st 1895. Pictured from left to right: T. Coswello / H. Thompson / F. Dunn / H.O. David / F. Lloyd, (capt) / J. Davis / H. Duncan, (Lieut) / T. Shennan. Black and white certificate reproduction printed on matte photographic paperObverse: Beechworth Fire Brigade / Winners of the Eight Men Hose & Reel Practice / at the intercolonial Demonstration / Held at Albury, NSW / Jan 1st 1895/ T. Coswello / H. Thompson / F. Dunn / H.O. David / F. Lloyd, (capt) / J. Davis / H. Duncan, (Lieut) / T. Shennan Reverse: BMM 6933emergency services, burke museum, fire brigade, fire, beechworth, 1895, albury, beechworth fire brigade

Photograph of a group of firemen posing for newspaper article holding various fire brigade equipment that was published in the Border Morning Mail Monday 15th April 1940. Sepia rectangular newspaper reproduction printed on matte photographic paperObverse: One of the many bush fire brigade units who protect the north-east of Victoria, who paraded at Beechworth on Saturday. The group includes: Messrs. E. Jessup, F.Paton, G. Witherow, J. Carney, M. Sonneman, K. Allen, G. Wald, W. Rae, W. Lee, D. Hume, J. Morrison J. Neary, A.D. Neary, J. Witherow, A.J Goonan, R. Hupwood and W. Shannon. Reverse: 7625.1emergency services, beechworth, burke museum, newspaper article, photograph, fire brigade, fire, firemen

Photograph of a group of 7 firemen, 3 wearing Beechworth Fire Brigade Uniforms.Black and white rectangular photo reproduction printed on matte photographic paperOn uniforms: Beechworth / Beechworth FB Reverse: 7610.1emergency services, beechworth, fire brigade, burke museum, firemen, photograph, black and white

Photograph of 2 teams with hoses and reels in a race as part of a CFA competition. Fire brigade competitions have been running for almost 150 years with the first State Championship held in Melbourne in 1874. State Championships have continued every year since 1873. The event goes on regardless of weather conditions or natural disasters. The only cancellations being due to WWI and WWII. In the 1950s, the Rural State Championships were developed to reflect the unique skills of rural brigades. The competitions started out as 'Demonstrations' with the introduction of hose reels into the fire service in the mid 1800s. This was to assist in getting hose and other necessary equipment to the scene of a fire faster. Brigades soon find that competing with other brigades improved their training and efficiency. The State Championship became the peak of the season's competitions conducted by districts and associations across the state. Black and white rectangular photo reproduction printed on matte photographic paperemergency services, beechworth, fire brigade, firemen, photograph, competition, black and white, fire

Photograph of a group of 12 firemen some wearing firemen hats.Black and white rectangular photo reproduction printed on matte photographic paperObverse: 7610.2/ 7610.3/emergency services, burke museum, fire brigade, photograph, beechworth, black and white, firemen, competition

Black and white photo reproduction print 15 x 10 cmDonor's detailseltham-yarra glen road, kangaroo ground, shire of eltham memorial park, shire of eltham war memorial, war memorial tower, garden hill

Postcard and large Photo of two double deck horse trams, shortly after arriving at the Sandringham - Beaumaris Tramway terminus c1900, including the Sandringham House Private Hotel on the corner on the corner of Beach Road and Melrose Street. Has many well dressed people crossing the roadway.Shows a double deck horse tram on the Sandringham to Beaumaris tramway.Original postcard and reproduction print of Rose Series postcard P952 on paper.trams, tramways, horse trams, sandringham, hotels, beaumaris, rose series