Edgar Finlay (Australian, 1893-1974) Untitled Streetscape 1919 Oil on board 32.2 x 27.2cm
This is a near perfect exhibition of Australian Tonalist paintings from the John and Peter Perry Collection at the Town Hall Gallery, Hawthorn, Melbourne.
From the beautiful colour of the gallery walls which compliments the art work to the subtle grouping of the paintings to the individual nuances in style of each artist’s work … this is a stunning exhibition which envelops the viewer in the paintings sublime, minimalist intimacies.
From portrait to landscape, from cityscape to still life, I was enraptured by the presence of each painting. Blow Monet or Cezanne, here is Australian colour, context, identity, place, perspective at its suffused finest!
I have always adored the work of Clarice Beckett (Australian, 1887-1935) ever since I saw her paintings at Lauraine Diggins Fine Art way back in 2015, and normally she would be the start of the show … but not here. Here she is surrounded by visions / visionaries of equal stature, led by the redoubtable painter and teacher Max Meldrum (Australian, 1875-1955).
The wall of five of his paintings of trees (see installation photo below) including The Glade, Eltham (c. 1920, below), The Pool (1923, below), The Bottom of the Hill (Eltham Reserve) (1925, below) is one of the most rigorous conceptual investigations into that subject I have seen in Australian painting, yet at the same time I was emotionally moved by their subtle nuances of form, tone and inhabitation. It was as though the artist had internalised the transcendence of his subject.
Believe me when I say that I inhaled the canvases in this exhibition, I breathed their suffused glow.
It was a real privilege to see the exhibition and to be able to construct this post. There are not many reproductions of Australian Tonalist paintings online by many of these artists so here is a record their achievement, and that of John and Peter Perry for having the foresight and perspicacity to collect them.
Enveloped in a pall of opaque density I see clearly.
Installation view of the exhibition Australian Tonalism: A selection from the John and Peter Perry Collection at the Town Hall Gallery, Hawthorn, Melbourne, May – July, 2025 showing at left, George Coates’ portrait of Max Meldrum, c. 1895 (below); at centre, Edgar Finlay’s Untitled Streetscape 1919 (above); and at right, three paintings by Clarice Beckett (below)
Australian Tonalism
Australian Tonalism is characterised by a particular “misty” or atmospheric quality created by the Meldrum painting method of building “tone on tone”. Tonalism developed from Meldrum’s “Scientific theory of Impressions”; claiming that social decadence had given artists an exaggerated interest in colour and, to their detriment, were paying less attention to tone and proportion. Art, he said, should be a pure science based on optical analysis; its sole purpose being to place on the canvas the first ordered tonal impressions that the eye received. All adornments and narrative and literary references should be rejected.
Tonalism opposed Post-Impressionism and Modernism, and is now regarded as a precursor to Minimalism and Conceptualism. The whole movement had been under fierce controversy and they were without doubt the most unpopular group of artists, in the eyes of most other artists, in the history of Australian art. Influential Melbourne artist and teacher George Bell described Australian Tonalism as a “cult which muffles everything in a pall of opaque density”.
George Coates (Australian, 1869-1930) Max Meldrum c. 1895 Oil on canvas 49.7 x 39.5cm
Clarice Beckett (Australian, 1887-1935) The Solitary Bathing Box c. 1933 Oil on beaver board 22.7 x 30cm
Clarice Beckett (Australian, 1887-1935) Street Scene (Collins Street) c. 1931 Oil on canvas board 17.6 x 24cm
Clarice Beckett (Australian, 1887-1935) (Beaumaris Coast) c. 1927 Oil on academy board 17.7 x 23.5cm
Wall text from the exhibition Australian Tonalism: A selection from the John and Peter Perry Collection at the Town Hall Gallery, Hawthorn, Melbourne, May – July, 2025
Installation view of the exhibition Australian Tonalism: A selection from the John and Peter Perry Collection at the Town Hall Gallery, Hawthorn, Melbourne, May – July, 2025 showing the work of Carl Hampel
Carl Hampel (Australian, 1891-1940) At Eltham 1920 Oil on prepared board 30.5 x 23cm
Carl Hampel (Australian, 1891-1940) Coming Light c. 1924 Evening 1920
Installation view of the exhibition Australian Tonalism: A selection from the John and Peter Perry Collection at the Town Hall Gallery, Hawthorn, Melbourne, May – July, 2025 showing at left in the bottom image the work of A E Newbury
A E Newbury (Australian, 1891-1941) White Gum and Pines 1919 Morning Light 1919 The Old Garden 1919
A E Newbury (Australian, 1891-1941) The Old Garden 1919 Oil on prepared board 30.5 x 23cm
Installation view of the exhibition Australian Tonalism: A selection from the John and Peter Perry Collection at the Town Hall Gallery, Hawthorn, Melbourne, May – July, 2025 showing the work of William Frater
William Frater (Scottish, 1890-1974) Untitled Landscape c. 1920 Oil on canvas 30 x 41.5cm
William Frater (Scottish, 1890-1974) Olympus c. 1928 Oil on canvas on board 32 x 46cm
William Frater (Scottish, 1890-1974) Tree forms on the Yarra c. 1926 Oil on canvas on board 30.5 x 39cm
William Frater (Scottish, 1890-1974) The River (Homage to Cezanne) 1930 Oil on board 43 x 54.5cm
Installation views of the exhibition Australian Tonalism: A selection from the John and Peter Perry Collection at the Town Hall Gallery, Hawthorn, Melbourne, May – July, 2025
Discover the artistic legacy of Max Meldrum (1875-1955) in this exhibition showcasing the lifelong dedication of John and Peter Perry to collecting works by this pioneering Australian artist and his influential school. Meldrum, a key figure in 20th-century Australian art, revolutionised the painting scene between the two World Wars, creating a distinctive style that has left a lasting imprint on the nation’s artistic landscape.
The exhibition features a selection of works from a collection of over 320 pieces, including paintings, sculptures, drawings, and etchings. Highlights include landscapes from both France and Australia, still lifes, portraits and animal studies – all embodying the unique approach of Meldrum and his followers. The ‘Meldrumites’ – a talented group of artists such as A M E Bale, Clarice Beckett, Colin Colahan and Polly Hurry – were deeply influenced by Meldrum’s teachings, and their works are also prominently featured. Many of these artists either lived or worked in the area now known as the City of Boroondara.
Also on display are fascinating studio artifacts, including plaster casts, palettes and photographs, offering a deeper insight into the artists’ creative processes. The exhibition will be accompanied by a limited-edition publication, providing further context and reflection on this significant collection.
Featuring: A M E Bale, Clarice Beckett, Colin Colahan, Archie and Amalie Colquhoun, Polly Hurry, John Farmer, Alma Figuerola, Justus Jorgensen, William Frater, Carl Hampel, Percy Leason, Max Meldrum, Jim Minogue, A E Newbury, Arnold Shore and others.
Text from the Boroondara Arts website
Installation view of the exhibition Australian Tonalism: A selection from the John and Peter Perry Collection at the Town Hall Gallery, Hawthorn, Melbourne, May – July, 2025
A D Colquhoun (Australian, 1894-1983) Self Portrait c. 1922 Oil on oak panel 21 x 15.8cm
L August Cornehls (Australian, 1887-1962) Self Portrait c. 1924 Oil on canvas on cardboard 26.7 x 22cm (oval)
Alma Figuerola (Australian, 1902-1970) Self Portrait c. 1926 Oil on cardboard 19.5 x 15cm
John Farmer (Australian, 1897-1989) Self portrait c. 1926 Oil on canvas 20.5 x 15.3cm
Australian Tonalism wall text Meldrum’s Painting Theory
Installation views of the exhibition Australian Tonalism: A selection from the John and Peter Perry Collection at the Town Hall Gallery, Hawthorn, Melbourne, May – July, 2025 showing the work of Max Meldrum
Max Meldrum (Scottish, 1875-1955) Brume (Mist) c. 1907 Study, Le Clocher c. 1908
Max Meldrum (Scottish, 1875-1955) Lever de Soleil (Sunrise) 1910 Oil on canvas 35 x 26.8cm
Max Meldrum (Scottish, 1875-1955) Chene et Peupliers (Oak Tree and Poplars) c. 1907 Oil on canvas 33.5 x 32cm
Max Meldrum (Scottish, 1875-1955) Esquisse (Sketch) c. 1904 Haystacks, Brittany c. 1908
Australian Tonalism wall text Meldrum in France
Max Meldrum (Scottish, 1875-1955) Pont de Grenelle, Paris 1929 Oil on canvas sketching panel 33.3 x 40.5cm
Installation view of the exhibition Australian Tonalism: A selection from the John and Peter Perry Collection at the Town Hall Gallery, Hawthorn, Melbourne, May – July, 2025 showing the work of Max Meldrum
Max Meldrum (Scottish, 1875-1955) The Glade, Eltham c. 1920 Oil on canvas on board 44 x 42cm
Max Meldrum (Scottish, 1875-1955) The Pool 1923 Oil on canvas on board 34 x 37.5cm
Max Meldrum (Scottish, 1875-1955) The Bottom of the Hill (Eltham Reserve) 1925 Oil on canvas on board 32.5 x 42cm
Installation view of the exhibition Australian Tonalism: A selection from the John and Peter Perry Collection at the Town Hall Gallery, Hawthorn, Melbourne, May – July, 2025
Max Dupain (Australian, 1911-1992) Photograph of Max Meldrum 1937 Gelatin silver photograph 47.5 x 33.7cm (image)
Installation views of the exhibition ‘Australian Tonalism: A selection from the John and Peter Perry Collection’ at the Town Hall Gallery, Hawthorn, Melbourne, May – July, 2025 showing the work of Colin Colahan
Colin Colahan (Australian, 1897-1987) Bridge Road, Evening c. 1929 Oil on linen on board 33 x 40.8cm
Colin Colahan (Australian, 1897-1987) Untitled (Streetscape) 1919 Oil on cardboard 32.2 x 23cm
Colin Colahan (Australian, 1897-1987) Kings Road, Chelsea 1940 Oil on board 46 x 38cm
Colin Colahan (Australian, 1897-1987) The Green Fence 1930 Oil on canvas on board 45.3 x 38cm
Colin Colahan (Australian, 1897-1987) Swanston Street, Melbourne c. 1930 Oil on canvas on board 45 x 37.7cm
Colin Colahan (Australian, 1897-1987) Swanston Street, Melbourne (detail) c. 1930 Oil on canvas on board 45 x 37.7cm
Tone, Proportion and Colour: A Brief Overview of the Exhibition
John R. Perry, March 2025
In 1974 Peter and I purchased a small sketch of a Brittany sunset by Max Meldrum. We have continued collecting works by Meldrum and painters associated with him for over forty-five years. Our aim has been to develop a representative, well composed collection of quality work by Australian Tonalists. The emphasis has been on Meldrum’s earlier works and those of his early associates. His work was at its most sensitive and his influence greatest in this period.
We have in this exhibition some of Meldrum’s rare early French landscapes including several by his brother-in-law Charles Nitsch. There are also works which I believe to be the first truly modern Australian paintings, produced at Eltham in 1917. Meldrum developed a simplified approach to his art and two works, The Three Trees (1917) and Cloudy Summer Afternoon, Eltham (1917) illustrate this progress. They give a true sense of space and atmosphere, all the more striking when seen with what a direct and simple means these effects are obtained. These compact and luminous studies show us the first evidence of the painter putting his perceptual theory into practice.
William Frater and Arnold Shore were major figures in the development of the modern movement in Melbourne and are included in this exhibition to illustrate the influence Meldrum had on these two under-appreciated painters…
The works of Clarice Beckett and Polly Hurry are generally one of soft-focus, for these lovers of mist and crepuscular fogs pay homage to the painters Eugene Carriere and James McNeill Whistler. The works of John Farmer, A E Newbury and to some degree Richard McCann, evolved into their respective personal styles which owe more to Camille Corot than to Meldrum. Their landscapes of subtle delicacy and feathery texture elicit many comparisons with the work of the great French Barbizon School painters…
Having both decided early on our collecting paths, that conventional collecting was not for us, we decided to be more objective, learning to appreciated and admire the work of the Australian Tonalists. As our collection grew, we were willing to leave the beat track, avoiding art dealers, art writers and critics, committing ourself to dealing directly with those painters associated with the Tonalist movement.
Like John Constable, Meldrum believed that, “… in such an age as this, painting should be understood, not looked on with blind wonder, nor considered only as a poetic aspiration, but as a pursuit legitimate, scientific and mechanical.”2
John Constable, quoted in The Letters of John Constable, ed. by R.B. Beckett (London: Longmans, Green and Co., 1955), p. 530.
Alice Marian Ellen Bale (Australian, 1875-1955) Self portrait 1925 Oil on canvas 75 x 62.5cm Town hall Gallery Collection
Australian Tonalism Alice Bale self portrait wall text
Installation view of the exhibition Australian Tonalism: A selection from the John and Peter Perry Collection at the Town Hall Gallery, Hawthorn, Melbourne, May – July, 2025 showing the work of A M E Bale
A M E Bale (Australian, 1876-1955) Interior (83 Walpole Street, Kew) c. 1928 Oil on board 31 x 23.5cm
A M E Bale (Australian, 1876-1955) Pompon Dahlias c. 1936 Oil on canvas 56 x 46cm
A M E Bale (Australian, 1876-1955) In Castlemaine Gardens (The Wall of Poplars) 1922 Oil on canvas 28.5 x 23cm
Richard McCann (Australian, 1889-1970) The Cottage 1919 Eltham c. 1920 Heyington from Hawthorn 1927 Pont Neuf & Henri IV, Paris 1924
Richard McCann (Australian, 1889-1970) Eltham c. 1920 Oil on academy board 24.5 x 39.5cm
Richard McCann (Australian, 1889-1970) Heyington from Hawthorn 1927 Oil on cedar panel 24 x 35cm
Richard McCann (Australian, 1889-1970) The Cottage 1919 Oil on academy board 24 x 30.5cm
Justus Jorgensen (Australian, 1893-1975) On the way to Toulon, Cassis 1927 Oil on canvas on flyboard 32.5 x 40.5cm
Justus Jorgensen (Australian, 1893-1975) Cassis 1927 Oil on canvas on board 40.5 x 33cm
John Rowell (Australian, 1894-1973) The Roadway c. 1920 Oil on canvas on flyboard 21.7 x 21.5cm
William Rowell (Australian, 1898-1946) The Barn 1926 Oil on academy board 28.5 x 30.5cm
Charles Nitsch (French, 1882-1972) Picherit’s Farm, Pace, Brittany c. 1910 Oil on cotton on board 32.5 x 40cm
Australian Tonalism wall text Charles Nitsch
A D Colquhoun (Australian, 1894-1983) The Avenue de l’Observatoire 1925 The Fountain in the Luxembourg Gardens c. 1925
A D Colquhoun (Australian, 1894-1983) The Avenue de l’Observatoire 1925 Oil on wood panel 16 x 21.6cm
A D Colquhoun (Australian, 1894-1983) The Fountain in the Luxembourg Gardens c. 1925 Oil on board 15.8 x 21.5cm
John Farmer (Australian, 1897-1989) Misty Morning, London (detail) 1934 Oil on canvas on board 19 x 24cm
Town Hall Gallery 360 Burwood Road Hawthorn VIC 3122 Phone: (03) 9278 4770
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
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.
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
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
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.
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
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
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 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 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 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.
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
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
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.
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
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
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
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
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
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
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
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?
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?
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
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
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? 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.
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
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
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
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.
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
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
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
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
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
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.
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
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 Medium format negative Collection of Nicholas Henderson
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 Medium format negative Collection of Nicholas Henderson
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 Medium format negative Collection of Nicholas Henderson
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 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 Medium format negative Collection of Nicholas Henderson
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 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 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 Medium format negative Collection of Nicholas Henderson
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 Medium format negative Collection of Nicholas Henderson
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 Medium format negative Collection of Nicholas Henderson
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 Medium format negative Collection of Nicholas Henderson
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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 Medium format negative Collection of Nicholas Henderson
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 Medium format negative Collection of Nicholas Henderson
Unknown photographer (Australian) Untitled (Three dogs) 1946-1947 Medium format negative Collection of Nicholas Henderson
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 Medium format negative Collection of Nicholas Henderson
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 Medium format negative Collection of Nicholas Henderson
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
Unknown photographer (Australian) Untitled (Men and shark)(location unknown) 1946-1947 Medium format negative Collection of Nicholas Henderson
Unknown photographer (Australian) Untitled (Mining landscape) (location unknown) 1946-1947 Medium format negative Collection of Nicholas Henderson
Unknown photographer (Australian) Untitled (Mining landscape) (location unknown) 1946-1947 Medium format negative Collection of Nicholas Henderson
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 Medium format negative Collection of Nicholas Henderson
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 Medium format negative Collection of Nicholas Henderson
Unknown photographer (Australian) Untitled (Two ballerinas) 1946-1947 Medium format negative Collection of Nicholas Henderson
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 Medium format negative Collection of Nicholas Henderson
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 Medium format negative Collection of Nicholas Henderson
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 Medium format negative Collection of Nicholas Henderson
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 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 Medium format negative Collection of Nicholas Henderson
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 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 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.
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 Medium format negative Collection of Nicholas Henderson
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