Stereographs: Rose Stereoscopic Views of Victorian Contingents leaving for the Boer War in South Africa, 1899-1900

October 2023

1st Victorian Contingent

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Victorian Continent' Melbourne, Victoria, 28th October 1899

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Victorian Continent
Melbourne, Victoria, 28th October 1899
2 photographic prints on stereocard
9 x 18cm

 

 

A historical posting this week: stereographs of soldiers of the two Victorian Contingents leaving from Melbourne for the Boer War in South Africa, the first in October 1899 and the second contingent in January 1900.

I have digitally scanned and cleaned these stereographs (that is, two nearly identical photographs or photomechanical prints, paired to produce the illusion of a single three-dimensional image, usually when viewed through a stereoscope, usually mounted on card) that I borrowed from my friend Terence Hodgkinson. I have added bibliographic information where possible: a small history of Australia and the Boer War; enrolment and embarkation details of the contingents; photographs and details of both ships that the men departed on; and information on the Rose Stereograph Company and its founder.

These 3D stereographs really give you a feeling of what it would have been like to live in Australia in last year of the 19th century and the beginning of the 20th century: a society full of pomp and circumstance with banners and bunting, ceremony and marches supporting a militarised society, where Australia was still a colony and not yet a nation (Federation of Australia only occurred on 1 January 1901).

In the stereograph The Victorian Continent (Melbourne, Victoria, 28th October 1899, above) a crowd of spectators on Swanston Street, Melbourne (viewed from Flinders Street Station with people on the steps of St Paul’s Cathedral at back right) celebrates the departure for South Africa of the 1st Victorian Continent to the Boer War. Notice the flags of the United States of American, Japan, Scotland, United Kingdom and St. George (England) flying above the procession and the absence of the Australian flag (the current Australian flag was first flown on 3rd September 1901). Also note the girl at bottom right clinging onto the corrugated iron roof of wooden sheds where you can book tickets to the Moonee Valley Races and Port Melbourne.

In the series of three stereographs Victorian Continent, S.S. “Medic” Leaving the Pier (Melbourne, Victoria, 28th October 1899, below) we can observe the passage of time as the ship pulls away from the pier as the crowd of onlookers walks towards us, and in the two following stereographs Victorian Continent, S.S. “Medic” off to South Africa and The Victorian Continent, Last View of Boat (both Melbourne, Victoria, 28th October 1899, below) we note that the photographer on top of his high perch has swung his large plate camera through 180 degrees to photograph the crowd and stern of the ship as she passes from view. Again, in the series of stereographs of the departure of the 2nd Victorian contingent The Bushman’s Contingent. “Euryalus” Leaving Pier (Melbourne, Victoria, 13th January 1900, below) we an see how the photographer captures the ship as she slides past, closing in on the troops piled high on the deck to wave goodbye. With their layered geometric forms and serried ranks these are very modernist photographs for their time in Australia. Finally, note another photographer with his large format camera and tripod standing above the crowd at left in the stereograph 2nd Victorian Contingent. The Troops at the Pier (Melbourne, Victoria, 13th January 1900, below)

It’s been a lot of hard work but it’s great to have this record of Melbourne life online as large format jpg for as far as I can tell they are not available otherwise. If anyone needs high resolution scans of the images please get in touch, always happy to send them.

Dr Marcus Bunyan


Many thankx to my friend Terence Hodgkinson for allowing me to scan and publish his stereographs. Digital clean and colour balance by Marcus Bunyan. Please click on the photographs for a larger version of the image.

 

“It was national sentiment in Canada and Australia which demanded that they share in the dangers of empire as well as the benefits they had long known. Self-appreciation would no longer permit colonial peoples in such advanced areas to feel that they could make no significant contribution to the war in which Britain was engaged.”


Donald C. Gordon, The Dominion Partnership in Imperial Defense 1870-1914 (Baltimore, 1965), p. 152.

 

“South Australia was still a colony, and Australia not yet a nation, when the Boer War broke out in South Africa in 1899. The colonies of Australia each provided contingents. When the war was over the colonial contingents had been merged, reflecting Australia’s emergence as a nation. Its soldiers had already begun the process of forging a reputation for courage, initiative, and endurance, which would later be reinforced during the Great War.”


Adapted by Steve Larkins from original work by Will Clough as featured in “Tributes of Honour”. “Boer War (11 October 1899 to 30 May 1902),” on the Virtual War Memorial Australia website Nd [Online] 03/10/2023

 

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Victorian Contingent Procession' Melbourne, Victoria, 28th October 1899

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Victorian Contingent Procession
Melbourne, Victoria, 28th October 1899
2 photographic prints on stereocard
9 x 18cm

 

A crowd of spectators watching a parade of the 1st Victorian Contingent to the Boer War. The white helmets of the soldiers are visible as a line passing through the arch emblazoned with the words “For Queen”. The soldiers are on their way to embark on a ship bound for South Africa.

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Victorian Contingent Procession' Melbourne, Victoria, 28th October 1899

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Victorian Contingent Procession
Melbourne, Victoria, 28th October 1899
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Victorian Contingent Procession' Melbourne, Victoria, 28th October 1899

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Victorian Contingent Procession
Melbourne, Victoria, 28th October 1899
2 photographic prints on stereocard
9 x 18cm

 

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'Victorian Continent Procession (Governor's Carriage)' Melbourne, Victoria, 28th October 1899

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
Victorian Continent Procession (Governor’s Carriage)
Melbourne, Victoria, 28th October 1899
2 photographic prints on stereocard
9 x 18cm

 

The enrolment of Victorian volunteers for service in the Transvaal should war break out began on 20 September at Victoria Barracks. Members of all branches of the service were invited to register, as well as citizens with previous military training,22 and by 28 September 760 men of the defence forces and 280 civilians had volunteered.23 But after 3 October, when Victoria committed itself to sending 125 infantry and 125 mounted infantry, the call for recruits became more specific. By 12 October 260 mounted men from a volunteer regiment of 800, and 250 infantry men from a militia regiment of 1900, had given in their names. This was hardly an enthusiastic response to the call to arms, but worse was to follow. When called up for medical and military efficiency tests, only 128 mounted infantry men and 107 infantry men reported.24 The medical examination also produced a surprise: forty percent of the applicants failed to pass a test considered not strict. The failure rate among the Victorian Mounted Rifles might be explained by the fact that as a volunteer regiment its recruits were not subject to any medical examination; but the same excuse could not be made for the militia, and their failure rate was just as high.25 To complete the numbers in both the mounted and unmounted units, the authorities called on the Victorian Rangers,a volunteer infantry regiment; but still lacking five men for the infantry unit they gave the places to members of the permanent artillery!26 Victoria had set out to enlist preferably single men of twenty to forty years of age, and it is a further measure of recruiting difficulties that twenty-seven married men embarked for South Africa.27

It was common for press reporters to regard the Victorian contingent as being composed of bushmen, but that could not have been so for about eighty percent of the infantry were recruited from Melbourne, with the remainder coming from Castlemaine, Ballarat, and Bendigo. Only the mounted unit was filled from country areas. A summary of the occupations of the Victorian contingent shows a preponderance of townmen, with rural areas being represented by landowners rather than rural workers.

Selection of the officers for the contingent on grounds that ignored seniority was questioned in the Legislative Assembly, but defended by the premier who claimed that efficiency had been the criterion.29 An Age report regarded the officers, who had been selected from “numerous volunteers”, as “young, intelligent and enthusiastic”,30 but when one considers the favourable connections of several of them, another factor in their selection seems likely. A biographical summary of the officers is given below. It indicates possible sources of influence, but more importantly, it gives an idea of the type of leader who sailed with the first and the second contingents. All the Victorians were colonials and in personal and professional details they appeared fairly typical of Australian militia officers of the time.31

From existing sources, fragmentary though they may be at times, there emerges a reasonably clear picture of the men who were to lay the foundations of Australian military tradition. They were predominantly unmarried men, on an average in their mid-twenties. The average physique might have approximated a man five feet eight and a half inches in height, ten stone twelve pounds in weight, and thirty-five inches around the chest.47 This suggests a tallish, lithe soldier, and the suggestion is supported by numerous contemporary references to the Australians’ admirable physique. If members of infantry units, the contingenters were most likely to have come from the cities; if members of mounted infantry and cavalry units they would have come mainly from country towns and rural areas. They would have had a liking for the military life, a modicum of discipline, but only a limited knowledge of the science of war.

L.M. Field. The Forgotten War. Australian Involvement in the South African Conflict of 1899-1902. Master of Arts thesis, Australian National University, September 1973, pp. 55-56; 60-61.

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Victorian Continent Taking Horses Abroad' Melbourne, Victoria, 28th October 1899

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Victorian Continent Taking Horses Abroad
Melbourne, Victoria, 28th October 1899
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Victorian Continent Going Aboard' Melbourne, Victoria, 28th October 1899

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Victorian Continent Going Aboard 
Melbourne, Victoria, 28th October 1899
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'Victorian Continent, S.S. "Medic" Leaving the Pier' Melbourne, Victoria, 28th October 1899

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
Victorian Continent, S.S. “Medic” Leaving the Pier
Melbourne, Victoria, 28th October 1899
2 photographic prints on stereocard
9 x 18cm

 

A crowd of onlookers walk down Railway Pier in Port Melbourne to farewell the Victorian Contingent aboard the S.S. Medic as it departs for the Boer War in South Africa.

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'Victorian Continent, S.S. "Medic" Leaving the Pier' Melbourne, Victoria, 28th October 1899

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
Victorian Continent, S.S. “Medic” Leaving the Pier
Melbourne, Victoria, 28th October 1899
2 photographic prints on stereocard
9 x 18cm

 

A crowd of onlookers walk down Railway Pier in Port Melbourne to farewell the Victorian Contingent aboard the S.S. Medic as it departs for the Boer War in South Africa.

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'Victorian Continent, S.S. "Medic" Leaving the Pier' Melbourne, Victoria, 28th October 1899

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
Victorian Continent, S.S. “Medic” Leaving the Pier
Melbourne, Victoria, 28th October 1899
2 photographic prints on stereocard
9 x 18cm

 

A crowd of onlookers walk down Railway Pier in Port Melbourne to farewell the Victorian Contingent aboard the S.S. Medic as it departs for the Boer War in South Africa.

 

Unknown photographer. 'S.S. Medic leaving Sydney' Probably 1900s

 

Unknown photographer
S.S. Medic leaving Sydney
Probably 1900s
State Library of New South Wales
Public domain

 

S.S. Medic

SS Medic was a steamship built by Harland and Wolff in Belfast for the White Star Line which entered service in 1899. Medic was one of five Jubilee-class ocean liners (the others being the Afric, Persic, Runic and Suevic) built specifically to service the Liverpool – Cape Town – Sydney route. The ship’s name pertained to the ancient Persian region of Media and was pronounced Mee-dic.

Medic was the second Jubilee-class ship to be built for the Australia service. Like her sisters she was a single funnel liner, measuring just under 12,000 gross register tons (GRT), which had capacity for 320 passengers in third class on three decks, she also had substantial cargo capacity with seven cargo holds, most of them refrigerated for the transport of Australian meat.

After a long career with White Star, Medic was sold in 1928 and was converted into a whaling factory ship and renamed Hektoria, she remained in service in this role until being torpedoed and sunk during World War II in the Atlantic Ocean whilst sailing in a convoy in 1942. …

 

White Star Line career

Medic was launched at Belfast on 15 December 1898, but her completion was delayed until 6 July the following year, so that improvements that were being made to her earlier sister Afric could be incorporated into her construction.

Medic inaugurated White Star’s new Australia service with her maiden voyage, which started from Liverpool on 3 August 1899, she was then the largest ship ever to sail to Australia. Although Afric was the first ship built for the service, she did not make her first voyage to Australia until the following month. On board the maiden voyage was Charles Lightoller on his first assignment as fourth mate, he would later become the only senior officer to survive the sinking of the Titanic. Upon Medic‘s arrival in Australia she was greeted with a rapturous reception. Lightoller wrote:

“She was a show ship, the biggest that had ever been out there, and the people in Australia gave us the time of our lives. Everything and everywhere it was Medic


On her first return trip to the UK, Medic carried Australian troops to South Africa for the Boer War which had started in October 1899, and continued to carry troops to the conflict until it concluded in 1902. In October 1900, while Medic was anchored in Neutral Bay, Sydney Harbour, Charles Lightoller and some shipmates were involved in the “Fort Denison Incident”, a prank intended to fool locals into believing a Boer raiding party was attacking the city. The culprits were never apprehended but Lightoller confessed to his company’s superiors, after which he was transferred to the Atlantic route.

Text from the Wikipedia website

 

Allan C. Green (Australian, d. 1954) 'The steamship and White Star Liner Medic' Before 1940

 

Allan C. Green (Australian, d. 1954)
The steamship and White Star Liner Medic
Before 1940
State Library of Victoria, Allan C. Green collection of glass negatives
Public domain

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'Victorian Continent, S.S. "Medic" off to South Africa' Melbourne, Victoria, 28th October 1899

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
Victorian Continent, S.S. “Medic” off to South Africa
Melbourne, Victoria, 28th October 1899
2 photographic prints on stereocard
9 x 18cm

 

A crowd of onlookers on Railway Pier in Port Melbourne waves off the Victorian Contingent aboard the S.S. Medic as it departs for the Boer War in South Africa.

 

 

The Victorian government took additional steps to ensure the success of the Melbourne farewell by making available holiday excursion fares from all stations to the city. It also approved the issue of free rail passes to the immediate relatives of country members of the contingent.107

The Victorian contingent was given a taste of the morrow by the crowds who thronged inside and outside the Melbourne Town Hall for the mayor’s farewell. “For the first time in the history of Victoria the thrill of patriotism vibrated through the nerves of the people”, and their hearts were stirred by the colony’s first plunge into “the great deeps of international warfare”. After the ceremony, the troops headed a triumphal procession back to barracks, and as the men disappeared within the gates the huge crowd sang Soldiers of the Queen. 111

The thronged streets were lined by 2000 school cadets for the march the following day, Saturday 28 October, and the contingent had an escort of 4000 members of the defence forces. Included in the column, and basking in a glory they must have thought gone forever, were former Imperial soldiers, “ambling but proud old wrecks” who wore the medals of Crimea and the Mutiny.112 Lieutenant Tremearne, in writing of the occasion later, told of people, perfect strangers to him, rushing into the ranks with tear filled eyes and murmuring, “Good luck, old man”.113 Followed by a flotilla of smaller craft, the Medic, largest ship ever to enter an Australian port, sailed down the bay and turned to the open sea. Long after the cheering had died and the launches had turned back, Victoria continued to salute her first contingent with huge bonfires which blazed along miles of coastline.114

L.M. Field. The Forgotten War. Australian Involvement in the South African Conflict of 1899-1902. Master of Arts thesis, Australian National University, September 1973, pp. 74-76.

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Victorian Continent, Last View of Boat' Melbourne, Victoria, 28th October 1899

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Victorian Continent, Last View of Boat
Melbourne, Victoria, 28th October 1899
2 photographic prints on stereocard
9 x 18cm

 

The Rose Stereograph Company

The publishing output of this long-lived firm (which operated from about 1880 until it went into liquidation in 2017) was phenomenal, and when the remains of what must have been a vast photographic archive went on sale in June 2021 with Lloyds Auctions…

According to a brief history by postcard collector Leo Fitzgerald, the Rose story began when Cornish sea captain William Rose came to the Victorian Ballarat gold fields from California and married Grace Ash at Ballarat in 1861. The couple’s son, George, was born in 1862 at the town of Clunes. He worked in his father’s shoe shop in Chapel Street, Prahran, between 1877 and 1880 (apparently producing his earliest photos from those premises) and began spending his Sundays selling photos to picnic parties in the Dandenong hills. Finding his niche in photography, he moved to a new address at Armadale and founded his own firm publishing stereographic views. Over the years he travelled to many countries and recorded numerous important historic events with his stereographic camera equipment, opening offices in Sydney, Wellington and London. His images from Korea have become especially celebrated in Korea, where they represent an extremely rare glimpse of the nation in 1904, before the onset of the destruction wrought by the wars of the 20th century. …

Collector and researcher Ron Blum, whose excellent books built on Leo Fitzgerald’s work, wrote that George’s son Walter took over the business sometime before 1931, selling it in that year to long-time employees Edward Gilbert and Herbert Cutts… George’s wife, Elizabeth, died in 1929, and both George’s sons died before him. With no longer any legal interest in the company he had founded, George kept on taking photographs for the old firm, travelling around Australia in a mobile darkroom and camping along the way. He worked almost until his death in 1942, aged 80… The Rose Stereographic Company continued under the stewardship of Herbert “Bert” Cutts, who brought his son Neil into the business in the 1950s.

Greg Ray. “The Rose Stereograph Company: a snapshot,” on the Photo Time Tunnel website July 16, 2021 [Online] Cited 23/09/2023

 

George Rose was born in Clunes, Victoria, in 1861. He did not follow his father into boot-making, but was interested in astronomy and natural history. He was unconventional, of rather eccentric and Bohemian character. After moving to Melbourne in 1876, George developed his skills as a photographer, especially in the stereoscopic field – what is known as 3D photography today. He founded the Rose Stereographic Company in 1880. In 1901 George recorded the celebrations for the visit of the Duke and Duchess of York, and in the following years travelled across Australia and over 35 countries taking three-dimensional photos. By 1907 his business employed six people – two males and four females; at its peak, staff numbered around 20. In 1913 the Rose Stereographic Company began manufacturing “real photo” postcards. George’s son Walter managed the company, allowing his father to concentrate on taking the photographs. In 1931 the business was sold to two long-time employees, Edward Gilbert and Herbert (Bert) Cutts. George Rose died of cancer in 1942, having outlived both his sons, but the business remained in the Cutts family for many years before it finally closed down in March 2017.

Information from the book George Rose – The Postcard Era by Ron Blum.

 

2nd Victorian Contingent

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Bushman's Contingent at Camp, Langwarrin' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Bushman’s Contingent at Camp, Langwarrin
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Bushman's Contingent at Langwarrin' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Bushman’s Contingent at Langwarrin
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Bushman's Contingent Lining up for Grub' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Bushman’s Contingent Lining up for Grub
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Bushman's Contingent. Capt. Patterson Giving Instructions to Officers' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Bushman’s Contingent. Capt. Patterson Giving Instructions to Officers
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Bushman's Contingent. Group of Officers' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Bushman’s Contingent. Group of Officers
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) '2nd Victorian Contingent, at the Showgrounds' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
2nd Victorian Contingent, at the Showgrounds
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) '2nd Victorian Contingent. Procession (Scottish Regiment)' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
2nd Victorian Contingent. Procession (Scottish Regiment)
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

The Scottish Regiment parading down Collins Street (looking east), Melbourne. The building on the left appears to be the Colonial Mutual Life Building (demolished) and further along, the clock tower is the town hall and the spire is Scots Church. Interesting to note the American flag flying the building at left. I wonder why?

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) '2nd Victorian Contingent. Procession' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
2nd Victorian Contingent. Procession
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

The 2nd Victorian Contingent parading down Collins Street (looking east), Melbourne. The building on the left appears to be the Colonial Mutual Life Building (demolished) and further along, the clock tower is the town hall and the spire is Scots Church. Interesting to note the American flag flying the building at left. I wonder why?

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) '2nd Victorian Contingent. Horses alongside Boat' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
2nd Victorian Contingent. Horses alongside Boat
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

Departed Melbourne: SS Euryalus 13 January 1900.

Raised predominantly on the Mounted Rifle Regiment, formed by Lt-Col Tom Price in 1885, and Victorian Rangers, Militia including the battalions of the Infantry Brigade and some from the Royal Australian Artillery. Colonel Price was initially made CO of the Hanover Road Field Force, including one battalion of Lancashire Militia, two companies of Prince Albert’s Guards and Tasmanians. Price was the only Australian Colonial Officer placed in command of British units during the Boer War.

A seminal moment in the Boer War was the capture of Pretoria in 1900 by British commander, Lord Roberts. The Victorian 2nd (Mounted Rifles) Contingent was the first unit to enter the city. A large number of this unit were invalided back to Victoria, having experienced starvation and extreme exhaustion on some treks.

Strength: 265
Service period: Feb 1900 – Dec 1900.

Text from the Defending Victoria website

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) '2nd Victorian Contingent. Soldiers Taking Saddles Aboard' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
2nd Victorian Contingent. Soldiers Taking Saddles Aboard
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) '2nd Victorian Contingent. Horses Going Aboard' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
2nd Victorian Contingent. Horses Going Aboard
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

The horses of the 2nd Victorian Contingent to the Boer War about to be put aboard the steamship “Euryalus”, bound for South Africa. The 2nd Victorian Contingent consisted entirely of mounted rifles.

 

Unknown photographer. 'S.S. Euryalus' Between 1898 and 1913?

 

Unknown photographer
S.S. Euryalus
Between 1898 and 1913?
Albumen silver print
13.8 x 19.7cm
State Library of Victoria, R.J. French photographic collection of ships
Gift of Mr R. J. French 1979
Public domain

 

S.S. Euryalus

The steamer Euryalus returned from South Africa
last night, berthing at the Port Melbourne Town
Pier at about a quarter-past 9 o’clock. It was
thought that she, like the Moravian, might have
had some invalided Australian troops on board, but
there were not any, although the vessel brought a
number of saloon and steerage passengers. She had
an uneventful voyage. Durban was left on the 5th
inst., and normal weather was experienced until
the Euryalus reached lat. 41deg. S. and lon. 97deg.
E., where foggy conditions set in, and these continued
to lon. 109deg. E. She passed Cape Otway
at 11.30 a.m. yesterday, and entered Port Phillip
Heads at 5.30 p.m.

“S.S. EURYALUS.The Argus (Melbourne, Vic.: 1848-1957) 26 May 1900: p. 12. Web. 23 Sep 2023 http://nla.gov.au/nla.news-article9542431

 

Name: EURYALUS
Type: Passenger Cargo Ship
Launched: 08/06/1898
Completed: 08/1898
Builder: Palmers’ Shipbuilding & Iron Co Ltd
Yard: Jarrow
Yard Number: 732
Dimensions: 3570grt, 2286nrt, 360.0 x 45.7 x 24.1ft
Engines: T3cyl (27, 45.5 & 74 x 48ins), 458nhp
Engines by: Palmers’ Shipbuilding & Iron Co Ltd, Jarrow
Propulsion: 1 x Screw, 11.5knots
Construction: Steel

History

04/11/1898: A Currie & Co, Melbourne
1913: British India Steam Navigation Co Ltd, Glasgow
1913: Placed on the India to Australia service
1919: Accommodation increased to include 2441 x deck passengers
31/12/1923: Arrived for breaking up at La Spezia. Cost £6,500

Comments

1898: Completed at a price of £47,500
Accommodation for 22 x 1st and 24 x 2nd Class passengers

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) '2nd Victorian Contingent. Going Aboard the "Euryalus"' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
2nd Victorian Contingent. Going Aboard the “Euryalus”
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) '2nd Victorian Contingent. Going Aboard the "Euryalus"' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
2nd Victorian Contingent. Going Aboard the “Euryalus”
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) '2nd Victorian Contingent. Horses Going Aboard' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
2nd Victorian Contingent. Horses Going Aboard
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

Australia and the Boer War, 1899-1902

As part of the British Empire, the Australian colonies offered troops for the war in South Africa. Australians served in contingents raised by the six colonies or, from 1901, by the new Australian Commonwealth. For a variety of reasons many Australians also joined British or South African colonial units in South Africa: some were already in South Africa when the war broke out; others either made their own way to the Cape or joined local units after their enlistment in an Australian contingent ended. Recruiting was also done in Australia for units which already existed in South Africa, such as the Scottish Horse.

Australians served mostly in mounted units formed in each colony before despatch, or in South Africa itself. The Australian contribution took the form of five “waves”. The first were the contingents raised by the Australian colonies in response to the outbreak of war in 1899, which often drew heavily on the men in the militia of the colonial forces. The second were the “bushmen” contingents, which were recruited from more diverse sources and paid for by public subscription or the military philanthropy of wealthy individuals. The third were the “imperial bushmen” contingents, which were raised in ways similar to the preceding contingents, but paid for by the imperial government in London. Then were then the “draft contingents”, which were raised by the state governments after Federation on behalf of the new Commonwealth government, which was as yet unable to do so. Finally, after Federation, and close to the end of the war, the Australian Commonwealth Horse contingents were raised by the new Federal government. These contingents fought in both the British counter-offensive of 1900, which resulted in the capture of the Boer capitals, and in the long, weary guerrilla phases of the war which lasted until 1902. Colonial troops were valued for their ability to “shoot and ride”, and in many ways performed well in the open war on the veldt. There were significant problems, however, with the relatively poor training of Australian officers, with contingents generally arriving without having undergone much training and being sent on campaign immediately. These and other problems faced many of the hastily raised contingents sent from around the empire, however, and were by no means restricted to those from Australia…

The Australians at home initially supported the war, but became disenchanted as the conflict dragged on, especially as the effects on Boer civilians became known…

Conditions for both soldiers and horses were harsh. Without time to acclimatise to the severe environment and in an army with a greatly over-strained logistic system, the horses fared badly. Many died, not just in battle but of disease, while others succumbed to exhaustion and starvation on the long treks across the veld. Quarantine regulations in Australia ensured that even those which did survive could not return home. In the early stages of the war Australian soldier losses were so high through illness that components of the first and second contingents ceased to exist as viable units after a few months of service.

Extract of text from “Australia and the Boer War, 1899-1902” on the Australian War Memorial website Nd [Online] Cited 06/10/2023

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Bushman's Contingent. Horses Going Aboard' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Bushman’s Contingent. Horses Going Aboard
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Bushman's Contingent. "Euryalus" Leaving Pier' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Bushman’s Contingent. “Euryalus” Leaving Pier
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Bushman's Contingent, "Euryalus" Leaving Pier' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Bushman’s Contingent, “Euryalus” Leaving Pier
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Bushman's Contingent, "Good-bye, Lads."' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Bushman’s Contingent, “Good-bye, Lads.”
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) 'The Bushman's Contingent, "Good-bye, Lads."' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
The Bushman’s Contingent, “Good-bye, Lads.”
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) '2nd Victorian Contingent. Going Aboard the "Euryalus"' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
2nd Victorian Contingent. The Troops at the Pier
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

Soldiers and sailors lined up on the pier, at a farewell parade for the troops of the 2nd Victoria Contingent to the Boer War. The troops of the 2nd Victoria Contingent, all Mounted Rifles, are aboard the steamship “Euryalus”, which is about to depart for Cape Town, South Africa. Note the photographer with his large format camera on tripod at left.

 

George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne) '2nd Victorian Contingent. The Last View of the "Euryalus"' Melbourne, Victoria, 13th January 1900

 

Unknown photographer
George Rose (Australian, 1861-1942) (publisher, Windsor, Melbourne)
2nd Victorian Contingent. The Last View of the “Euryalus”
Melbourne, Victoria, 13th January 1900
2 photographic prints on stereocard
9 x 18cm

 

 

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Photographs: Max Dupain (Australian, 1911-1992) Part 2

December 2020

 

Max Dupain (Seven Yachts in the Bay) Nd

 

Max Dupain (Australian, 1911-1992)
(Seven Yachts in the Bay)
Nd
Gelatin silver print
29 x 37cm (11.4 x 14.6 in.)

 

 

A second tranche of photographs from the Australian photographer Max Dupain. This means that Art Blart has one of the largest groups of his work online with larger images.

In this posting I have grouped the images through ships and boats; surf and beach; nudes / montage / surrealism; city and Harbour Bridge; dance and abstraction; portraits and Pictorialism – finishing with two stunning bromoil landscapes.

View Max Dupain photographs Part 1

Dr Marcus Bunyan


All images are used under fair use conditions for the purpose of educational research. Please click on the photographs for a larger version of the image.

 

 

Max Dupain. 'Hero Towing Pamir to Sydney Heads' c. 1940s

 

Max Dupain (Australian, 1911-1992)
Hero Towing Pamir to Sydney Heads
c. 1940s
Gelatin silver print
41 x 39.5cm

 

Pamir was a four-masted barque built for the German shipping company F. Laeisz. One of their famous Flying P-Liners, she was the last commercial sailing ship to round Cape Horn, in 1949. By 1957, she had been outmoded by modern bulk carriers and could not operate at a profit. Her shipping consortium’s inability to finance much-needed repairs or to recruit sufficient sail-trained officers caused severe technical difficulties. On 21 September 1957, she was caught in Hurricane Carrie and sank off the Azores, with only six survivors rescued after an extensive search.

Text from the Wikipedia website

 

A model of Pamir, a four-masted barque

 

A model of Pamir, a four-masted barque that was one of the famous Flying P-Liner sailing ships of the German shipping company F. Laeisz

 

Max Dupain. 'Rigging Sails' Nd

 

Max Dupain (Australian, 1911-1992)
Rigging Sails
Nd
Gelatin silver print
25.5 x 25cm

 

Max Dupain. 'Life at the Spit' Nd

 

Max Dupain (Australian, 1911-1992)
Life at the Spit
Nd
Gelatin silver print
23.5 x 22cm

 

Max Dupain. '(Aerial of Waters Edge)' 1930s

 

Max Dupain (Australian, 1911-1992)
(Aerial of Waters Edge)
1930s
Gelatin silver print
26 x 24cm

 

Max Dupain. '(Aerial View of Manly Beach)' 1938

 

Max Dupain (Australian, 1911-1992)
(Aerial View of Manly Beach)
1938
Gelatin silver print
23 x 31cm

 

Max Dupain. '(Life Guards Marching with Reel)' Nd

 

Max Dupain (Australian, 1911-1992)
(Life Guards Marching with Reel)
Nd
Gelatin silver print
34.5 x 30cm

 

Max Dupain. '(Sunbaking by the Wall)' Nd

 

Max Dupain (Australian, 1911-1992)
(Sunbaking by the Wall)
Nd
Gelatin silver print
30.5 x 32cm

 

Max Dupain. '(Surfboard, Umbrella and Crowds)' Nd

 

Max Dupain (Australian, 1911-1992)
(Surfboard, Umbrella and Crowds)
Nd
Gelatin silver print
29 x 25.5cm

 

Max Dupain. 'Stiff Nor'Easter' 1940s

 

Max Dupain (Australian, 1911-1992)
Stiff Nor’Easter
1940s
Gelatin silver print
38 x 40.5cm

 

Max Dupain. 'Beach Watchers, Bondi' 1940s

 

Max Dupain (Australian, 1911-1992)
Beach Watchers, Bondi
1940s
Gelatin silver print
28.5 x 25.5cm

 

Max Dupain (Australian, 1911-1992) 'Surf Race Start' 1947

 

Max Dupain (Australian, 1911-1992)
Surf Race Start
1947
Gelatin silver print
36 x 37cm

 

Max Dupain (Australian, 1911-1992) 'Picnicker Leaving the Beach' Nd

 

Max Dupain (Australian, 1911-1992)
Picnicker Leaving the Beach
Nd
Gelatin silver print
30 x 34.5cm

 

Max Dupain (Australian, 1911-1992) 'Beach Play' 1937

 

Max Dupain (Australian, 1911-1992)
Beach Play
1937
Gelatin silver print
30.5 x 36cm

 

Max Dupain. '(Nude Figures)' 1930s

 

Max Dupain (Australian, 1911-1992)
(Nude Figures)
1930s
Gelatin silver print
24 x 20cm

 

Max Dupain (Australian, 1911-1992) '(Nude in Shadow on the Sand)' 1937

 

Max Dupain (Australian, 1911-1992)
(Nude in Shadow on the Sand)
1937
Gelatin silver print
35.5 x 30cm

 

Max Dupain. '(Nude Montage)' 1930s

 

Max Dupain (Australian, 1911-1992)
(Nude Montage)
1930s
Gelatin silver print
34.5 x 33cm

 

Max Dupain (Australian, 1911-1992) '(Standing Nude on Sand)' 1930s

 

Max Dupain (Australian, 1911-1992)
(Standing Nude on Sand)
1930s
Gelatin silver print
39 x 33.5cm

 

Max Dupain. '(Nude Sunbaker)' 1939

 

Max Dupain (Australian, 1911-1992)
(Nude Sunbaker)
1939
Gelatin silver print
35 x 46.5cm

 

Max Dupain. '(Rhythmic Form)' 1935

 

Max Dupain (Australian, 1911-1992)
(Rhythmic Form)
1935
Gelatin silver print

 

Max Dupain (Australian, 1911-1992) 'Debussy Quartet in G' 1937

 

Max Dupain (Australian, 1911-1992)
Debussy Quartet in G
1937
Gelatin silver print
30.5 x 23.5cm

 

Max Dupain. '(Solarised Nude and Rays of Light)' 1935

 

Max Dupain (Australian, 1911-1992)
(Solarised Nude and Rays of Light)
1935
Gelatin silver print
12.5 x 9.5cm

 

Max Dupain. '(Nude and Pole)' 1934

 

Max Dupain (Australian, 1911-1992)
(Nude and Pole)
1934
Gelatin silver print
45.5 x 36cm

 

Max Dupain. 'Little Nude' 1938

 

Max Dupain (Australian, 1911-1992)
Little Nude
1938
Gelatin silver print
41 x 31cm

 

Max Dupain. 'Spontaneous Composition' 1935

 

Max Dupain (Australian, 1911-1992)
Spontaneous Composition
1935
Gelatin silver print
38 x 41cm

 

Max Dupain. '(Moira in the Mirror)' 1931

 

Max Dupain (Australian, 1911-1992)
(Moira in the Mirror)
1931
Gelatin silver print
25.5 x 28cm

 

Max Dupain. '(Elizabeth Street, Melbourne)' Nd

 

Max Dupain (Australian, 1911-1992)
(Elizabeth Street, Melbourne)
Nd
Gelatin silver print
40.5 x 39cm

 

Max Dupain. '(Angel Statue, 392 Bus and Terraces)' Nd

 

Max Dupain (Australian, 1911-1992)
(Angel Statue, 392 Bus and Terraces)
Nd
Gelatin silver print
28 x 38cm

 

Max Dupain. '(Australian Hotel, The Rocks)' Nd

 

Max Dupain (Australian, 1911-1992)
(Australian Hotel, The Rocks)
Nd
Gelatin silver print
31 x 38cm

 

Max Dupain. '(Hickson Road)' Nd

 

Max Dupain (Australian, 1911-1992)
(Hickson Road)
Nd
Gelatin silver print
39 x 50.5cm

 

Max Dupain. 'Darling Harbour from Studio Window' 1940s

 

Max Dupain (Australian, 1911-1992)
Darling Harbour from Studio Window
1940s
Gelatin silver print
32 x 45cm

 

Max Dupain. 'Brooms for Sale' 1950

 

Max Dupain (Australian, 1911-1992)
Brooms for Sale
1950
Gelatin silver print
31.5 x 44.5cm

 

Max Dupain. 'George Street Silhouette' 1940

 

Max Dupain (Australian, 1911-1992)
George Street Silhouette
1940
Gelatin silver print
30.5 x 29.5cm

 

Max Dupain. 'Central Station, Sydney' 1939

 

Max Dupain (Australian, 1911-1992)
Central Station, Sydney
1939
Gelatin silver print
40 x 39cm

 

Max Dupain. 'Collins Street, Melbourne' 1946

 

Max Dupain (Australian, 1911-1992)
Collins Street, Melbourne
1946
Gelatin silver print
42 x 39.5cm

 

Max Dupain. 'Morning, Kings Cross Ice Wagon' Nd

 

Max Dupain (Australian, 1911-1992)
Morning, Kings Cross Ice Wagon
Nd
Gelatin silver print
45 x 40.5cm

 

Max Dupain. 'Parking, Macquarie Street' 1930s

 

Max Dupain (Australian, 1911-1992)
Parking, Macquarie Street
1930s
Gelatin silver print
39 x 48.5cm

 

Max Dupain. 'Suburban Terraces' Nd

 

Max Dupain (Australian, 1911-1992)
Suburban Terraces
Nd
Gelatin silver print
28 x 38cm

 

Max Dupain. 'Hobart Siesta' 1947

 

Max Dupain (Australian, 1911-1992)
Hobart Siesta
1947
Gelatin silver print
38.5 x 38cm

 

Max Dupain. 'Diver, Northbridge Baths' Nd

 

Max Dupain (Australian, 1911-1992)
Diver, Northbridge Baths
Nd
Gelatin silver print
23 x 18.5cm

 

Max Dupain. '(Milson's Point)' Nd

 

Max Dupain (Australian, 1911-1992)
(Milson’s Point)
Nd
Gelatin silver print
30.5 x 32.5cm

 

Max Dupain. '(Harbour Bridge at Dusk)' Nd

 

Max Dupain (Australian, 1911-1992)
(Harbour Bridge at Dusk)
Nd
Gelatin silver print
31 x 28.5cm

 

Max Dupain. 'Sydney from South Pylon' 1938

 

Max Dupain (Australian, 1911-1992)
Sydney from South Pylon
1938
Gelatin silver print
38 x 50.5cm

 

Max Dupain. '(Harbour Bridge Closed at Night)' 1946

 

Max Dupain (Australian, 1911-1992)
(Harbour Bridge Closed at Night)
1946
Gelatin silver print
18 x 24cm

 

Max Dupain. '(Harbour Bridge with Traffic, Buses and Policeman)' 1940-1950s

 

Max Dupain (Australian, 1911-1992)
(Harbour Bridge with Traffic, Buses and Policeman)
1940-1950s
Gelatin silver print
17.5 x 24cm

 

Max Dupain. 'Observatory Hill, Looking North to the Sydney Harbour Bridge' 1940

 

Max Dupain (Australian, 1911-1992)
Observatory Hill, Looking North to the Sydney Harbour Bridge
1940
Gelatin silver print
40.5 x 40cm

 

Max Dupain. '(Four Graces)' Nd

 

Max Dupain (Australian, 1911-1992)
(Four Graces)
Nd
Gelatin silver print
37 x 48cm

 

Max Dupain. '(Four Graces)' Nd

 

Max Dupain (Australian, 1911-1992)
(Four Graces)
Nd
Gelatin silver print
24 x 30.5cm

 

Max Dupain. 'Design – Suburbia' 1933

 

Max Dupain (Australian, 1911-1992)
Design – Suburbia
1933
Gelatin silver print
29.5 x 23cm

 

Max Dupain. 'Design in Barred Light' Nd

 

Max Dupain (Australian, 1911-1992)
Design in Barred Light
Nd
Gelatin silver print
25 x 18.5cm

 

Max Dupain. '(Timelapse Nude Figure)' Nd

 

Max Dupain (Australian, 1911-1992)
(Timelapse Nude Figure)
Nd
Gelatin silver print
23.5 x 29.5cm

 

Max Dupain. '(Nude Figure and Light)' 1930s

 

Max Dupain (Australian, 1911-1992)
(Nude Figure and Light)
1930s
Gelatin silver print
30.5 x 36cm

 

Max Dupain. '(Portrait and Shadows)' Nd

 

Max Dupain (Australian, 1911-1992)
(Portrait and Shadows)
Nd
Gelatin silver print
50 x 40cm

 

Max Dupain. 'Domestic Poem, Douglas Stewart' Nd

 

Max Dupain (Australian, 1911-1992)
Domestic Poem, Douglas Stewart
Nd
Gelatin silver print
27 x 26cm

 

Max Dupain. 'Jean' 1936-1937

 

Max Dupain (Australian, 1911-1992)
Jean
1936-1937
Gelatin silver print
37 x 31cm

 

Max Dupain. 'Tired Soldier in Queensland Train' 1943

 

Max Dupain (Australian, 1911-1992)
Tired Soldier in Queensland Train
1943
Gelatin silver print
45 x 40.5cm

 

Max Dupain. 'Hostel Breakfast' Nd

 

Max Dupain (Australian, 1911-1992)
Hostel Breakfast
Nd
Gelatin silver print
31 x 41cm

 

Max Dupain. '(Three Men at Work)' 1940s

 

Max Dupain (Australian, 1911-1992)
(Three Men at Work)
1940s
Gelatin silver print
52 x 49cm

 

Max Dupain. 'Waiting for the Queen' 1954

 

Max Dupain (Australian, 1911-1992)
Waiting for the Queen
1954
Gelatin silver print
38.5 x 39.5cm

 

Max Dupain. '(Waiting for the Queen)' Nd

 

Max Dupain (Australian, 1911-1992)
(Waiting for the Queen)
Nd
Gelatin silver print
24.5 x 24cm

 

Max Dupain. 'Enter The Queen' 1954

 

Max Dupain (Australian, 1911-1992)
Enter The Queen
1954
Gelatin silver print
50 x 50cm

 

Max Dupain. 'Gloucester Landscape' 1951

 

Max Dupain (Australian, 1911-1992)
Gloucester Landscape
1951
Gelatin silver print
40.5 x 50.5cm

 

Max Dupain. 'Sundown, Mona Vale Marshes' 1932

 

Max Dupain (Australian, 1911-1992)
Sundown, Mona Vale Marshes
1932
18.5 x 24cm

 

Max Dupain. 'The Flight of the Spectres' 1932

 

Max Dupain (Australian, 1911-1992)
The Flight of the Spectres
1932
Bromoil
27.5 x 29cm

 

 

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Photographs: ‘Australia 1946-1947’ Part 2 March 2020

March 2020

 

Unknown photographer (Australian) 'Untitled (Flinders Street railway station)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Flinders Street railway station)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

 

Another mountain of work scanning and cleaning 50 of these 2 1/4″ square (6 x 6 cm) medium format black and white negatives which come from the collection of my friend Nick Henderson. In Part 2 of the posting the family travel to Melbourne, Colac and Tasmania. The photographs of postwar Melbourne are fascinating. There are also pictures of mining works, a speedcar racer, picnic, pub, dogs, ballerinas, actors, children and some stunning, Frank Hurley-esque photographs of Sydney Harbour Bridge.

The photographs seem as though from another world. The Pacific Highway in North Sydney is almost deserted of traffic. A fascinating set of four photographs are Road accident, hay truck, Albion Park, New South Wales. In the first photograph from a distance we observe that a hay truck has lost its load, possibly after rounding the corner from left at too fast a speed, the intersection marked in the road by a small metal bollard. Small children inspect the underside of the truck while a boy on a bike rides to join them. What strikes one is the openness of the scene, the lack of other cars, and the spareness of the landscape, with only the “milk bar” with the Peters ice cream sign showing any sign of commerce. In the second image the photographer has moved around to the front side of the truck which tilts at a crazy angle. Two forty-gallon oil drums, possibly from the truck, have been placed upright on the road while bales of hay little the bitumen. In the background a petrol station advertises PLUME, Mobiloil, and Atlantic tyres(?) and on the right we can make out the Albion Park Hotel and the intersection around which the truck came.

In the third image which again shows the underside of the truck men have joined the scene, talking to presumably the shirtless truck driver in peaked cap, sheepishly standing among the twisted axles and staring at the camera. To the left two shoeless boys observe the scene. In the last photograph of the front of the truck we see kids sitting on the hay bails posing for the camera, while at far right the shirtless truck driver may be in conversation with others. What a glorious sequence of Walker Evans type social documentary photography… a brief context, an accident, a shooting star in the timeline of the galaxy.

My two favourite photographs in the posting: the almost solarised image of the Convict-built church at Port Arthur convict colony ruins; but more especially Number 42 tram going to Mont Albert. This photograph should become a classic in the annals of Australian photography. In one dynamic image the photographer has captured the hustle and bustle of postwar Melbourne – the women striding purposefully towards us, the Silver Top taxi cresting the rise at speed, the number 42 tram to Mont Albert kicking up dust from the tracks, the shadows, the gothic buildings, the towers behind and the vanishing point. A superlative image.

Hopefully there will be part 3 of this series when I get chance to scan some more negatives. In the meantime you can view Part 1 and these images. Enjoy!

Dr Marcus Bunyan


Many thankx to Nick Henderson for allowing me to publish the photographs in the posting. All photographs collection of Nick Henderson. Please click on the photographs for a larger version of the image.

 

 

Unknown photographer (Australian) 'Untitled (Y.M.C.A, City Road, South Melbourne)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Y.M.C.A, City Road, South Melbourne)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Collins Street, Melbourne)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Collins Street, Melbourne looking west from just above the Swanston Street intersection, Town Hall on the right, and then the Manchester Unity building across Swanston Street, probably taken from in front of the Regent Theatre)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Looking at Flinders Street railway station on Elizabeth Street, Melbourne)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Looking at Flinders Street railway station on Elizabeth Street, Melbourne)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Centreway Building on Collins Street, 259-263 Collins Street)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Centreway Building on Collins Street, 259-263 Collins Street)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Melbourne street)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Melbourne street)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (A. C. Goode House at 389-399 Collins)' 1946-1947

 

Unknown photographer (Australian)
Untitled (A. C. Goode House at 389-399 Collins) (the Gothic building at right)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Russell Street taken from near Collins Street)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Russell Street taken from near Collins Street)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Russell Street with police radio tower viewed from Collins street. American 1930’s car’s that where popular then, Dodge, Chevy, Lincoln & Fords! Yellow cab at left, and the cars are facing the same way both sides of the road. The Holden Motor Company built Buick, Chevy & Pontiac from “CKD” kits from the USA. Parking in the middle of the road (so we are not seeing the other side of the road).

 

Unknown photographer (Australian) 'Untitled (Exhibition Street, looking from Collins Street, down past Flinders Lane)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Exhibition Street, looking from Collins Street, down past Flinders Lane)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Collins Street looking up towards Old Treasury Building)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Collins Street looking up towards Old Treasury Building)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Number 42 tram going to Mont Albert)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Number 42 tram going to Mont Albert)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Photograph taken where – Collins and Swanston Street? The lady is walking towards or just beyond the Melbourne Town Hall, the tram is on the other side of the road going the opposite way towards Mont Albert. In the centre background is the APA Tower and in front of it is the Mutual Life and Citizens Assurance Co (MLC) building. In the far distance is the Federal Hotel and Coffee Palace. Silver Top Pontiac Taxi (1937) slippery leather seats! Front bench seats with full length grab bar too hold on when cornering! (centre of image).

Many thankx to James Nolen for help identifying this image.

 

Unknown photographer (Australian) 'Untitled (St Paul's Cathedral, Melbourne looking from Flinders Street Railway Station)' 1946-1947

 

Unknown photographer (Australian)
Untitled (St Paul’s Cathedral, Melbourne looking from Flinders Street railway station)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Princes Bridge, Melbourne on the Yarra River with Flinders Street Railway Station to the right)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Princes Bridge, Melbourne on the Yarra River with Flinders Street railway station to the right)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Seagulls, rowing sheds on the Yarra River, Melbourne)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Seagulls, rowing sheds on the Yarra River, Melbourne)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Bill Edwards speedcar, Victoria)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Bill Edwards speedcar, Victoria)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Bill Edwards speedcar, Victoria)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Bill Edwards speedcar, Victoria)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Union Club Hotel, Colac)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Union Club Hotel, Colac)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

 

Union Club Hotel, Colac 2010

 

Union Club Hotel, Colac
2010
Wikimedia Commons
Creative Commons Attribution-Share Alike 3.0 Unported

 

Unknown photographer (Australian) 'Untitled (Picnic, family and car)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Picnic, family and car)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Two women and two girls)' 1946-1947z

 

Unknown photographer (Australian)
Untitled (Two women and two girls)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Girl)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Girl)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Girl)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Girl)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Two lads and two children)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Two lads and two children)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Three dogs)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Three dogs)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Port Arthur ruins, Tasmania)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Port Arthur convict colony ruins, Tasmania)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Port Arthur convict colony ruins, Tasmania)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Port Arthur convict colony ruins, Tasmania)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Port Arthur convict colony ruins, Tasmania)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Port Arthur convict colony ruins, Tasmania)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Convict-built church at Port Arthur convict colony ruins, Tasmania)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Convict-built church at Port Arthur convict colony ruins, Tasmania)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Pirates Bay Lookout, Tasmania)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Pirates Bay Lookout, Tasmania)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

One of the Tasman Peninsula’s finest coastal lookouts is actually on the Forestier Peninsula, high on the hillsides above the Tesselated Pavement. Pirates Bay Lookout gives panoramic views down the east coast of Tasmania Peninsula and overs spectacular vistas towards Cape Hauy and Cape Pillar, which are both visible on a clear day. The lookout is on Pirates Bay Drive, the turnoff to the left off Tasman Highway being around 2 km before reaching Eaglehawk Neck when approaching from Dunalley. The lookout can also be accessed from Eaglehawk Neck. Simply take the Scenic drive past the Lufra Hotel.

Text from the Our Tasmania website [Online] Cited 29/03/2020

 

 

Pirates Bay Lookout, Tasmania 2009

 

Pirates Bay Lookout, Tasmania
2009
Wikimedia Commons
Creative Commons Attribution-Share Alike 2.0 Generic

 

Unknown photographer (Australian) 'Untitled (Men and shark)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Men and shark) (location unknown)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Mining landscape)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Mining landscape) (location unknown)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Mining landscape)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Mining landscape) (location unknown)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Mining landscape)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Mining landscape) (location unknown)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Three dogs)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Three dogs)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Two dogs)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Two dogs)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Smiling girl with pigtails)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Smiling girl with pigtails)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Two ballerinas)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Two ballerinas)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Man and ballerina)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Man and ballerina)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Women in gown)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Women in gown)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Three girls)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Three girls)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Two women, a man and a dog)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Two women, a man and a dog)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Road accident, hay truck, Albion Park, New South Wales)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Road accident, hay truck, Albion Park, New South Wales)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Road accident, hay truck, Albion Park, New South Wales)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Road accident, hay truck, Albion Park, New South Wales)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Road accident, hay truck, Albion Park, New South Wales)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Road accident, hay truck, Albion Park, New South Wales)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Road accident, hay truck, Albion Park, New South Wales)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Road accident, hay truck, Albion Park, New South Wales)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

 

Unknown photographer (Australian) 'Untitled (Bridgeview Motors, 267 Pacific Highway, North Sydney with Sydney Harbour Bridge in the background)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Bridgeview Motors, 267 Pacific Highway, North Sydney with Sydney Harbour Bridge in the background)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Lavender street, Lavender Bay looking towards the Sydney Harbour Bridge)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Lavender street, Lavender Bay looking towards the Sydney Harbour Bridge)
1946-1947
Medium format negative
Collection of Nicholas Henderson

Unknown photographer (Australian) 'Untitled (Dawes Point ferry, under the Sydney Harbour Bridge looking to Fort Denison)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Dawes Point ferry, under the Sydney Harbour Bridge looking to Fort Denison)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Sydney Harbour Bridge, south looking north showing the North Sydney Olympic Pool in the background left)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Sydney Harbour Bridge, south looking north showing the North Sydney Olympic Pool in the background left)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

The North Sydney Olympic Pool is a swimming and exercise complex located adjacent to Sydney Harbour at Milsons Point in North Sydney between the Sydney Harbour Bridge and Luna Park. Designed by architects Rudder & Grout in the Inter-War Free Classical style with art deco-style decorations, the Olympic-sized outdoor pool was built on part of the Dorman Long workshops site following the completion of the Harbour Bridge. The pool opened 4 April 1936 and hosted the swimming and diving events for the 1938 Empire Games.

Text from the Wikipedia website

 

Unknown photographer (Australian) 'Untitled (Sydney Harbour Bridge, north looking south showing DC current power station stack to the left)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Sydney Harbour Bridge, north looking south showing DC current power station stack to the left)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

Unknown photographer (Australian) 'Untitled (Under the Sydney Harbour Bridge, north looking south showing DC current power station stack to the left)' 1946-1947

 

Unknown photographer (Australian)
Untitled (Under the Sydney Harbour Bridge, north looking south showing DC current power station stack to the left)
1946-1947
Medium format negative
Collection of Nicholas Henderson

 

 

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Marcus Bunyan black and white archive: ‘The Regent Theatre’ series 1991

May 2011

 

After undertaking an Issues in Art Conservation subject for my Master of Art Curatorship at the University of Melbourne I have become more aware of the fragility of my black and white fibre-based prints and negatives. I have therefore decided to scan my medium format negatives (taken on my trusty Mamiya RZ67) and made during the years 1991-1997, to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever.

These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people that surrounded me. As such they form part of life – of Melbourne, of Australia and of humanity in general. The preservation of such moments in time are vital to the continuing enrichment of culture. See more of my early black and white photographs on the Marcus Bunyan black and white archive 1991-1997 page.

All images © Marcus Bunyan. Please click on the photographs for a larger version of the image.

Photographs are available from this series for purchase. As a guide, a vintage 8″ x 10″ silver gelatin print costs $700 plus tracked and insured shipping. For more information please see my store web page.

 

 

1991

The Regent Theatre series

The photographs of the dilapidated Regent Theatre in Collins Street, Melbourne were taken with the permission of the National Trust after the theatre had been closed for 21 years on an open day when the theatre was open to the public. The series formed part of my first solo exhibition Of Magic, Music and Myth held in 1991 at a hairdressing salon in High Street, Prahran, Melbourne. All photographs © Marcus Bunyan.

 

 

Marcus Bunyan (Australian, b. 1958)
Untitled from The Regent Theatre series
1991
Vintage gelatin silver print
© Marcus Bunyan

 


 

Marcus Bunyan (Australian, b. 1958)
Arts from The Regent Theatre series
1991
Vintage gelatin silver print
© Marcus Bunyan

 

 

Marcus Bunyan (Australian, b. 1958)
Untitled from The Regent Theatre series
1991
Vintage gelatin silver print
© Marcus Bunyan

 

 

Marcus Bunyan (Australian, b. 1958)
Untitled from The Regent Theatre series
1991
Vintage gelatin silver print
© Marcus Bunyan

 

 

Marcus Bunyan (Australian, b. 1958)
Untitled from The Regent Theatre series
1991
Vintage gelatin silver print
© Marcus Bunyan

 


 

Marcus Bunyan (Australian, b. 1958)
Coronation from The Regent Theatre series
1991
Vintage gelatin silver print
© Marcus Bunyan

 

 

Marcus Bunyan (Australian, b. 1958)
Exit from The Regent Theatre series
1991
Vintage gelatin silver print
© Marcus Bunyan

 

 

Marcus Bunyan (Australian, b. 1958)
Music and Light from The Regent Theatre series
1991
Vintage gelatin silver print
© Marcus Bunyan

 

 

Marcus Bunyan (Australian, b. 1958)
Music from The Regent Theatre series
1991
Vintage gelatin silver print
© Marcus Bunyan

 

 

Marcus Bunyan (Australian, b. 1958)
Nocturne from The Regent Theatre series
1991
Vintage gelatin silver print
© Marcus Bunyan

 

 

Marcus Bunyan (Australian, b. 1958)
Untitled from The Regent Theatre series
1991
Vintage gelatin silver print
© Marcus Bunyan

 

 

Marcus Bunyan (Australian, b. 1958)
Untitled from The Regent Theatre series
1991
Vintage gelatin silver print
© Marcus Bunyan

 


 

Marcus Bunyan (Australian, b. 1958)
Six-coned speaker with pillars from The Regent Theatre series
1991
Vintage gelatin silver print
© Marcus Bunyan

 


 

Marcus Bunyan (Australian, b. 1958)
Stairs, bannister, bowl and pillars from The Regent Theatre series
1991
Vintage gelatin silver print
© Marcus Bunyan

 


 

Marcus Bunyan (Australian, b. 1958)
Twin pillars from The Regent Theatre series
1991
Vintage gelatin silver print
© Marcus Bunyan