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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Exhibition: ‘Impressions of Paris: Lautrec, Degas, Daumier, Atget’ and ‘Impressions of Melbourne’ at the Monash Gallery of Art, Melbourne

Exhibition dates: 17th July – 20th September, 2015

National Gallery of Australia touring exhibition

Curator of Impressions of Paris: Jane Kinsman, National Gallery of Australia’s Senior Curator of International Prints

 

Eugène Atget (France, 1857-1927) 'No title (Brocanteur)' c. 1898-1905 from the exhibition 'Impressions of Paris: Lautrec, Degas, Daumier, Atget' and 'Impressions of Melbourne' at the Monash Gallery of Art, Melbourne, July - Sept, 2015

 

Eugène Atget (France, 1857-1927)
No title (Brocanteur)
c. 1898-1905
Albumen silver photograph
17.8 x 21.9cm
National Gallery of Australia, Canberra
Purchased 1980

 

 

Impressions of Paris: Lautrec, Degas, Daumier, Atget is a particularly dry and uninspiring National Gallery of Australia touring exhibition, which was only enlivened for me by the enlightened presence of 20 or so vintage Eugène Atget photographs, specifically added for this showing at the Monash Gallery of Art, the home of Australian photography.

Atget’s photographs have an almost ether/real quality to them in their visual representation and, physically, an ephemeral feel to the quality of the paper – as though the images are about to dissolve into nothing – even as he photographs solid objects such as stairways, doors and door knockers. Observe the photographs Hôtel du Maréchal de Tallard, 78 rue des Archives (c. 1898-1905), A la Grâce de Dieu, 121 rue Montmartre (c. 1900) and Heurtoir, 6 rue du Parc Royal (c. 1901-1914), below, to witness this shimmering phenomenon. It is as if the emulsion of the plate is insufficient to capture the light of life.

In an accompanying exhibition in the smaller gallery, Impressions of Melbourne, photographs by Nicholas Caire, Charles Kerry, Max Dupain, Mark Strizic and Noel Jones investigate the city of Melbourne… but it is the stunning photographs by Atget that make the long drive out to Wheeler’s Hill worth the visit.

Dr Marcus Bunyan


Many thankx to the Monash Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Eugène Atget (France, 1857-1927) 'Versailles, Grand Trianon' c. 1901-1925 from the exhibition 'Impressions of Paris: Lautrec, Degas, Daumier, Atget' and 'Impressions of Melbourne' at the Monash Gallery of Art, Melbourne, July - Sept, 2015

 

Eugène Atget (France, 1857-1927)
Versailles, Grand Trianon
c. 1901-1925
Gold-toned silver chloride photograph
17.6 x 22cm
National Gallery of Australia, Canberra
Purchased 1980

 

Eugène Atget (France, 1857-1927) 'Hôtel du Maréchal de Tallard, 78 rue des Archives' c. 1898-1905

 

Eugène Atget (France, 1857-1927)
Hôtel du Maréchal de Tallard, 78 rue des Archives
c. 1898-1905
Gold-toned silver chloride photograph
22 x 18.1cm
National Gallery of Australia, Canberra
Purchased 1980

 

Eugène Atget (France, 1857-1927) 'A la Grâce de Dieu, 121 rue Montmartre' c. 1900

 

Eugène Atget (France 1857-1927)
A la Grâce de Dieu, 121 rue Montmartre
c. 1900
Printing out paper photograph
22 x 17.7cm
National Gallery of Australia, Canberra
Purchased 1984

 

Eugène Atget (France, 1857-1927) 'Heurtoir, 6 rue du Parc Royal' c. 1901-1914

 

Eugène Atget (France, 1857-1927)
Heurtoir, 6 rue du Parc Royal
c. 1901-1914
Gold-toned silver chloride photograph
21.9 x 17.8cm
National Gallery of Australia, Canberra
Purchased 1980

 

 

Monash Gallery of Art is delighted to present its major international exhibition of 2015, Impressions of Paris: Lautrec, Degas, Daumier, Atget featuring over 120 prints, posters and photographs drawn from the collection of the National Gallery of Australia.

Impressions of Paris: Lautrec, Degas, Daumier, Atget examines the major contribution to French art made by key figures: Honoré-Victorin Daumier (1808-1879), Edgar Degas (1834-1917), Henri de Toulouse-Lautrec (1864-1901) and includes a selection of photographs by Eugène Atget (1857-1927) specially conceived for Monash Gallery of Art.

Newly appointed Gallery Director Kallie Blauhorn states, “I’m thrilled that for my first exhibition at MGA we are able to present a major international show, Impressions of Paris. Residents of Monash and art lovers across Melbourne will experience the extraordinary works by household names, Toulouse Lautrec, Edgar Degas, Honore Daumier and the wonderful photographer Eugène Atget.”

“This is a first for MGA and a true testament to the reputation of the gallery that we can host this important and significant exhibition,” said Blauhorn.

A generation apart, Lautrec, Degas and Daumier were consummate draughtsmen whose innovative compositions and embrace of modern subject matter played a significant role in artistic developments in France over the nineteenth century. Atget, the only specialist photographer among these artists, spent much of his life documenting the streets of Paris as they underwent modernisation. His photographs show us how modern life was expressed in the architectural experience of France, giving us a glimpse of what modernity left behind.

The generation of French artists who followed Daumier in the nineteenth century were inspired by his critical observations, which became an extraordinary reservoir of ideas. Both Degas and then Lautrec were enthusiastic admirers of French caricature, delighting in its animated qualities, stylistic freedoms and contemporary themes. They were particularly enamoured of Daumier’s caricature.

Degas adopted themes of modern French life, the ballet, the race course, the café-concert and the demi-monde and played an important role in the rejection of mythological and historical subjects favoured by the Impressionists. Many of Degas’ ideas on composition and subjects were, in turn, drawn from Daumier. This French satirist was both extraordinarily gifted and prolific, making a name for himself by lampooning the affectations, stupidities and greed of members of the French bourgeois society in caricatures, which Degas avidly collected.

The youngest of the artists, Lautrec, who sadly dies before reaching 37, borrowed themes and compositions from Degas, an artist he much admired and emulated. Images of drinkers at a table, ballet and cabaret scenes and nudes reveal the powerful influence that Degas had on the younger artist, as well as Lautrec’s own considerable originality, particularly as a portrayer of individuals rather than the depiction of types often favoured by Degas.

For the most part, Atget’s pictures of streets, parks, courtyards, buildings and their ornamental motifs record remnants of Old Paris. While there is a nostalgic aspect to these views, for contemporary viewers these pictures were about modern Paris. They recorded and helped make sense of changes to the city as it struggled to cope with modernism. Atget’s views of modern Paris focussed on its intimate places, those spaces of the everyday in which people had always worked, loved and lived.

These four artists captured the spirit of Paris in their prints, posters and photographs. Through the examination of this work, we find clues as to why dramatic changes took place in French art over the nineteenth century. They formed part of other generations of artists who admired Daumier and who adapted the caricaturist’s critical lithographic observations. In this way Daumier’s legacy was a brilliant journalistic record of the modern capital and contributed to an era in France ripe for a new art.

Press release from the MGA website

 

Eugène Atget: growth and decay in the great city

After an unspectacular career in the theatre, Eugène Atget (1857-1927) began to take photographs of Paris in 1892. By 1897 he had established a successful business photographing the spaces that remained of Old Paris. In all, Atget made over 10,000 images of Paris and its surrounds, each taken with a straightforward approach that laid the basis for much of the documentary photography that followed. Atget’s pictures were immensely popular: he sold thousands of prints, satisfying a strong demand for views of a city undergoing massive social and architectural transformation.

For the most part, Atget’s pictures of streets, parks, courtyards, buildings and their ornamental motifs record remnants of pre-Revolutionary Paris. While there is a nostalgic aspect to these views, for contemporary viewers these pictures were about modern Paris. They recorded and helped make sense of changes to the city as it struggled to cope with modernism. Street traders and other workers are seen selling their wares along old streets and laneways; ancient buildings stand in laneways and courtyards undergoing physical transformation; cafes and shops await bustling crowds. Atget’s views of modern Paris focussed on its intimate places, those spaces of the everyday in which people had always worked, loved and lived.

 

Impressions of Melbourne

17th July 2015 – 20th September 2015

In response to the photographs by Eugène Atget (1857-1927) included in the National Gallery of Australia’s touring exhibition, Impressions of Paris, this exhibition offers views of Melbourne’s streets, laneways and urban landscape. Drawn from the Monash Gallery of Art, City of Monash Collection, this selection traverses a period from the late nineteenth century to the late twentieth century.

Atget photographed Paris during a time when the French capital was undergoing significant transformation. From the 1850s through to the 1920s, the dark medieval neighbourhoods of the city were demolished to make way for the wide avenues and open public spaces that Paris is known for today. Atget’s ambition was to produce clear and detailed photographs that would document the heritage of Paris before it disappeared. Typically taking his photographs in the early morning when the streets were empty, Atget imbued the city with ghostly nostalgia.

The earliest photographs in Impressions of Melbourne, taken by Nicholas Caire and Charles Kerry in the late nineteenth century, are contemporary to those of Atget. While Atget focused longingly on the past, however, these Australian photographers celebrated the civic accomplishments of modern progress in the colonies. The portrayal of Melbourne as a civilised metropolis, attractive to both immigrants and tourists, persisted through the twentieth century. Max Dupain captured the city as a lively and enterprising place, while Mark Strizic lingered on the shimmering ambience of window shopping and city strolling.

Impressions of Melbourne showcases a range of photographic responses to our urban environment, revealing some of Melbourne’s many moods and highlighting the city as a rich photographic subject. The exhibition includes photographs by Nicholas Caire, Charles Kerry, Max Dupain, Mark Strizic and Noel Jones.

Nicholas Caire

Nicolas Caire was born in Guernsey and arrived in Australia, settling in Adelaide, in 1858. He set up his first photographic studio in Adelaide in 1867. He moved to the Victorian goldmining town of Talbot in 1870 before relocating to Melbourne in 1876. At this time, Melbourne was the largest Australian city.

While Caire is best known for his picturesque landscape photographs of the Victorian countryside, he also produced photographs of major city thoroughfares, public buildings, parks and gardens. These subjects were common amongst photographers in the second half of the nineteenth century, conveying a sense of local pride and achievement. Caire’s photographs were often mounted in albums and accompanied by individual descriptive texts, a format that was popular amongst local and overseas visitors at the time.

Charles Kerry

Charles Kerry grew up in country New South Wales before moving to Sydney at the age of 17 to begin his photographic career. After a failed studio partnership, which left him with a lot of debt, Kerry rebuilt his business and by 1890 found himself running a successful studio that had a monopoly on the popular postcard market. By 1898 Kerry’s studio was the largest in Australia, housed in a three-storey building at 310 George Street, Sydney.

Throughout his career, Kerry photographed a broad range of subjects including social and sporting events, portraits of Indigenous people, city streets as well as the New South Wales countryside. He also spent a year documenting every station homestead in New South Wales. Kerry retired in 1913.

 

Nicholas Caire (born United Kingdom 1837; arrived Australia 1858; died 1918) 'View of Bourke Street, Melbourne' 1877-1878

 

Nicholas Caire (born United Kingdom 1837; arrived Australia 1858; died 1918)
View of Bourke Street, Melbourne
1877-1878
From the series Views of Victoria
Albumen print
13.4 x 18.7cm
Monash Gallery of Art, City of Monash Collection acquired 1987

 

Original album caption: Bourke Street is the principal business thoroughfare in the great City of Melbourne. It is about a mile in length, extending from the Parliament House to the Spencer Street Railway Station. On the left hand side of the picture is the Post Office, and at the extreme end of the street can be seen the Parliament House.

 

Nicholas Caire (born United Kingdom 1837; arrived Australia 1858; died 1918) 'The Government Domain of Victoria' 1877-1878

 

Nicholas Caire (born United Kingdom 1837; arrived Australia 1858; died 1918)
The Government Domain of Victoria
1877-1878
From the series The public buildings of Melbourne and suburbs
Albumen print Monash Gallery of Art, City of Monash Collection acquired 1987

 

Original album caption: The Governor’s Residence is on an eminence near the Botanical Gardens, and occupies one of the best positions around the City of Melbourne. Looking westward from the front of the Domain, a splendid view is obtained of Hobson’s Bay, with the townships of St Kilda, Emerald Hill, Sandridge, and Williamstown on the coast. On the north side can be seen the City of Melbourne, with its busy suburban towns – Hotham, Carlton and Fitzroy. From the rear of the building towards the east, in the distance, the retired towns of Richmond, Hawthorn, and Toorak can be distinguished. The building, as seen in the illustration, was completed in the year 1876. Sir G F Bowen, GCMG, being the Resident Governor at the time.

 

Nicholas Caire (born United Kingdom 1837; arrived Australia 1858; died 1918) 'The Royal Mint, Melbourne' 1877-1878

 

Nicholas Caire (born United Kingdom 1837; arrived Australia 1858; died 1918)
The Royal Mint, Melbourne
1877-1878
From the series The public buildings of Melbourne and suburbs
Albumen print
Monash Gallery of Art, City of Monash Collection acquired 1987

 

Original album caption: The Royal Mint of Victoria is situated in the north-easterly part of William Street, West Melbourne. This Government Building is not thrown open to the public for visitation at any time; but an inspection by visitors can be effected on an order from a Member of the Ministry, conditionally that there be no fewer than eight persons at each visitation; one of the number being required to become responsible for the conduct of the party.

 

Nicholas Caire (born United Kingdom 1837; arrived Australia 1858; died 1918) 'The Post Office, Melbourne' 1877-1878

 

Nicholas Caire (born United Kingdom 1837; arrived Australia 1858; died 1918)
The Post Office, Melbourne
1877-1878
From the series The public buildings of Melbourne and suburbs
Albumen print
Monash Gallery of Art, City of Monash Collection acquired 1987

 

Original album caption: This imposing structure is erected at the junction of Bourke and Elizabeth Streets, which may be considered perhaps the most central position in Melbourne. It is provided with a very long corridor for the posting and delivery of letters, & c. The Telegraph Department, as also the Post Office Savings Bank and Money Order Office, are all conducted in connection with the General Post office, Melbourne, of which the Hon. R Ramsay, MLA, is at present Postmaster-General.

 

Charles Kerry (Australia, 1858-1928) 'Collins Street, looking south' c. 1890

 

Charles Kerry (Australia, 1858-1928)
Collins Street, looking south
c. 1890
Albumen print
14.5 x 17.5cm
Monash Gallery of Art, City of Monash Collection acquired 1984

 

Max Dupain (Australia, 1911-1992) 'Melbourne with rain' 1946

 

Max Dupain (Australia, 1911-1992)
Melbourne with rain
1946
Gelatin silver print
Monash Gallery of Art, City of Monash Collection acquired 1987

 

Max Dupain

Max Dupain began his photographic career in 1930 as an apprentice in the studio of Cecil Bostock. In 1934 he established his own studio in Sydney and continued to produce a broad range of commercial work over the course of his life. Dupain was strongly influenced by modernist photographic principles and is renowned for his architectural photography as well as his iconic images of Australian beach culture.

While he primarily worked in Sydney, the photographs exhibited here are among several he took of otherAustralian cities. They highlight his interest in documenting city life as well as his use of light, shadow and aerial perspective. They were taken during the post war period; in the year that Dupain was commissioned by the Department of Information to photograph Australia’s way of life as part of a campaign to increase migration to Australia. This period marked a shift in Dupain’s practice, away from advertising and fashion toward social documentary.

 

Mark Strizic (born Germany 1928; arrived Australia 1950; died 2012) 'Near 101 Collins Street, Jan 1963' 1963

 

Mark Strizic (born Germany 1928; arrived Australia 1950; died 2012)
Near 101 Collins Street, Jan 1963
1963
Gelatin silver print
36 x 53.5cm
Monash Gallery of Art, City of Monash Collection
Donated by the Bowness Family through the Australian Government’s Cultural Gifts Program 2008
Reproduction courtesy of the artist

 

Mark Strizic (born Germany 1928; arrived Australia 1950; died 2012) 'Collins Street at McPherson's building - 1, 1967' 1967

 

Mark Strizic (born Germany 1928; arrived Australia 1950; died 2012)
Collins Street at McPherson’s building – 1, 1967
1967
Gelatin silver print
53.8 x 36cm
Monash Gallery of Art, City of Monash Collection
Donated by the Bowness Family through the Australian Government’s Cultural Gifts Program 2008
Reproduction courtesy of the artist

 

Mark Strizic

Mark Strizic was born in Berlin and migrated to Melbourne from Zagreb, Croatia in 1950. Strizic had no formal training in photography, but began taking photographs of Melbourne in the 1950s. He abandoned his studies in physics to become a full-time photographer in 1957, taking up subsequent commissions in architectural, industrial, interior design and portrait photography.

Among Strizic’s most widely recognised images are those he created of Melbourne between 1955 and 1970. Strizic documented the streets of Melbourne, showing many sides of the city, from derelict back alleyways to the grand arcades and buildings of Melbourne’s ‘Paris end’. Strizic’s photographs were produced during a period of dramatic change, a time when Melbourne’s Victorian-era buildings were being replaced by modern architectural developments. The images not only serve to document this change but also provide significant and important records of Melbourne pre-modernisation.

 

 

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Victoria 3150 Australia
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