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Portrait of Mary Thomas
Black and white photograph of a portrait of Mary Thomas, wife of Robert Thomas, believed to be by her daughter Francis. Mary and Robert were both colonists, coming to South Australia in 1836 aboard the 'Africaine'. They established the first business and newspaper, 'The South Australian Gazette and Colonial Register'. The portrait portrays Mary as a young woman, and is very similar to the image which features in the front of the publication of Mary's diary 'The Diary and Letters of Mary Thomas', however certain aspects of the two images differ. The photograph is believed to be dated 1911 from a stamp on the envelope.
Lord Byron's carriage, Australia Day procession
Mr W.J. Blanden driving and an old Port Lincoln resident 'Black Fanny' in Lord Byron's carriage as part of an Australia Day procession in Port Lincoln. Inscription on back of photograph: 'Fanny in Lord Byron's carriage, Australia Day, Port Lincoln, 30/7/15. She said that it made her very tired riding in "that cart". That an Australian black jin should refer to his carriage as a cart is enough to make poor Lord Byron turn in his grave. M.K.B. 7/8/15'. It is belived that the English poet Lord Byron gave his carriage to his friend Lady Charlotte Bacon some years before his death, and that it was brought to Australia by Lady Bacon when she settled in Australia in 1865.
Shearing shed, Bimbowrie
From Myles Kemp Bishop's photographs of his work as a wool classer. From back of photograph: "Oulnina, 6 Sep. 12. My dear Father, Thank you all very much indeed for your letters and good wishes for my birthday - also Mother for her xxx which has just arrived. Things are going well here now - plenty of work. A photo of the shearing board Bimbowrie. Love to all. Myles."
Queen's visit, Port Lincoln.
Hundreds of children from around Eyre Peninsula arranged in a Fan Display on the Port Lincoln Oval in March 1954 for the Visit of Her Majesty and the Duke of Edinburgh. It was widely reported in Australian newspapers at the time.
Exhibition of paintings by Amy Bishop
Hall set up for a very early exhibition of paintings by Amy Bishop and her pupils. Amy Bishop, daughter of Joseph and Elizabeth Bishop of Port Lincoln, was a noted watercolour artist. She lived at Mill Cottage, Port Lincoln.
Miss Thomas' School, Myola, Port Lincoln
Group portrait of students of Miss Thomas' School 'Myola', Port Lincoln. Marjorie Broadbent (later Marjorie Bishop, wife of Myles Bishop) is back row, fourth from left, roughly in the centre, wearing a tie. Myola was the first private boarding school in Port Lincoln and opened by Miss Dora Thomas with the help of her two older sisters, Helen and May. Their residence and class rooms were set up together in the same building, and they taught as many as 25 pupils at a time. The school ran for nearly 15 years.
Florence and Ethela Hammond
Studio portrait of Ethela Poonindie Hammond (later Bishop) seated on the right, and her younger sister Florence Elizabeth Hammond seated on the left, daughters of the Reverend Octavius Hammond, Superintendent of the Poonindie Mission near Port Lincoln, and his wife Anne.
Ethela Bishop
Studio portrait of Ethela Poonindie Bishop (nee Hammond), second wife of Joseph Kemp Bishop. She is seated in a chair and knitting, and is wearing a lace scarf around her neck.
Ethel Mary Bishop
Studio portrait of Ethel Mary Bishop. The bodice and collar of her dress is decorated with braid and she is wearing a large broach.
Mrs J.Shannon and daughters
Black and white photograph of Mrs J. [Julienne] Shannon posing with her six daughters in a bush setting. Inscription on reverse reads 'Back row, Ersie[?], Alice, Kate Millie[?]. Front row, Berthe, Marjorie.
Christiana Pengilly
A black and white cabinet portrait photograph of Miss Christiana Pengilly, who was in charge of the shop girls at John Martins. Christiana holidayed at Elizabeth Bruce's boarding house at Victor Harbor each year, often bringing a few of the girls with her. Inscription on the reverse reads 'Compliments of the Season', and is signed by Christiana. Photograph by Stump & Co. of Adelaide.
Marjorie Taylor
A black and white photograph of Marjorie Taylor who was at school with Walter Bruce. Her father, Fred Taylor, was the stationmaster at Victor Harbor. Caption on reverse of photograph reads 'To dear Walter, with best love from Marjorie'.
Elizabeth Bruce at Pine Cottage
Carte-de-visite photograph of Elizabeth Bruce and an unknown man standing at the front of her house, 'Pine Cottage' in Burke Street, Victor Harbor.
Unley Park School
Black and white photograph of a class from the Unley Park School posing beside a stone building with a verandah. Back row from left: Doris Everard, Isobel Hogg, Joan Kernot, Katie Cresswell, Gwen Scammell, Thelma Robin, Jean Lyall, - - , Marjory Pobjoy (b.1893, daughter of the Rev. King William Pobjoy), 2nd Row: Karen Wollaston, - -, Alice Blake Pobjoy (b.1896, daughter of the Rev. King William Pobjoy), Ethelwyn Scammel, Marjorie Frances Dolman, Patty Wymss[?], - - , - Lyall, Gwen Beaumont, Mary Johnson. 3rd Row - -, Jean Cresswell, Molly Clampett, Marian Walker, Rosalind Stump, - -, - -, - -. Front Row: - -, - -, - Gordon, Katie Wymss[?], - -, Buck Harvey[?]. Eve and Jack Tolley were absent.
Collette Gray
Artist Collette Gray painting at the Ceduna Aboriginal Art and Culture Centre. The photographer describes the Centre, "The Ceduna Arts and Cultural Centre is Aboriginal owned and sells artwork on behalf of all artists involved. All profits from the centre go back into buying materials and developing new skills to ensure the continued running and upkeep of the centre. The way in which the business is presented and operated is innovative and has encouraged Indigenous participation not only in the arts, but also in the operation of a small business. It also provides a source of income for artists and a level of economic independence. On the several occasions that I visited the centre I was able to move freely among the artists as they did their art work. I found it fascinating to watch Denise painting with a tube of paint in one hand while she used a stick in the other hand to squash the paint down to make the patterns of the death adders. She didn't sketch the work first but just created it straight from her mind. Whilst in Stringy Bay I had been told to look out for an up-and-coming artist by the name of Beaver Lennon, who was making a name for himself in the Indigenous art world. Over a period of two weeks I dropped into Beaver's studio as he went about creating his latest work to be entered into this years Telstra Awards. He is a very shy person, with an amazing gift for creating beautiful art work. I also recorded a number of ladies around a table doing an adult education programme in multi-literacy, which enables them to work with modern technology to produce and promote their art works."
Adult Community Education
Women doing Adult Community Education at the Ceduna Aboriginal Art and Culture Centre. The photographer describes the Centre, "The Ceduna Arts and Cultural Centre is Aboriginal owned and sells artwork on behalf of all artists involved. All profits from the centre go back into buying materials and developing new skills to ensure the continued running and upkeep of the centre. The way in which the business is presented and operated is innovative and has encouraged Indigenous participation not only in the arts, but also in the operation of a small business. It also provides a source of income for artists and a level of economic independence. On the several occasions that I visited the centre I was able to move freely among the artists as they did their art work. I found it fascinating to watch Denise painting with a tube of paint in one hand while she used a stick in the other hand to squash the paint down to make the patterns of the death adders. She didn't sketch the work first but just created it straight from her mind. Whilst in Stringy Bay I had been told to look out for an up-and-coming artist by the name of Beaver Lennon, who was making a name for himself in the Indigenous art world. Over a period of two weeks I dropped into Beaver's studio as he went about creating his latest work to be entered into this years Telstra Awards. He is a very shy person, with an amazing gift for creating beautiful art work. I also recorded a number of ladies around a table doing an adult education programme in multi-literacy, which enables them to work with modern technology to produce and promote their art works."
Beaver Lennon
Artist Beaver Lennon painting at the Ceduna Aboriginal Art and Culture Centre. The photographer describes the Centre, "The Ceduna Arts and Cultural Centre is Aboriginal owned and sells artwork on behalf of all artists involved. All profits from the centre go back into buying materials and developing new skills to ensure the continued running and upkeep of the centre. The way in which the business is presented and operated is innovative and has encouraged Indigenous participation not only in the arts, but also in the operation of a small business. It also provides a source of income for artists and a level of economic independence. On the several occasions that I visited the centre I was able to move freely among the artists as they did their art work. I found it fascinating to watch Denise painting with a tube of paint in one hand while she used a stick in the other hand to squash the paint down to make the patterns of the death adders. She didn't sketch the work first but just created it straight from her mind. Whilst in Stringy Bay I had been told to look out for an up-and-coming artist by the name of Beaver Lennon, who was making a name for himself in the Indigenous art world. Over a period of two weeks I dropped into Beaver's studio as he went about creating his latest work to be entered into this years Telstra Awards. He is a very shy person, with an amazing gift for creating beautiful art work. I also recorded a number of ladies around a table doing an adult education programme in multi-literacy, which enables them to work with modern technology to produce and promote their art works."
Verna Lawrie
Artist Verna Lawrie painting at the Ceduna Aboriginal Art and Culture Centre. The photographer describes the Centre, "The Ceduna Arts and Cultural Centre is Aboriginal owned and sells artwork on behalf of all artists involved. All profits from the centre go back into buying materials and developing new skills to ensure the continued running and upkeep of the centre. The way in which the business is presented and operated is innovative and has encouraged Indigenous participation not only in the arts, but also in the operation of a small business. It also provides a source of income for artists and a level of economic independence. On the several occasions that I visited the centre I was able to move freely among the artists as they did their art work. I found it fascinating to watch Denise painting with a tube of paint in one hand while she used a stick in the other hand to squash the paint down to make the patterns of the death adders. She didn't sketch the work first but just created it straight from her mind. Whilst in Stringy Bay I had been told to look out for an up-and-coming artist by the name of Beaver Lennon, who was making a name for himself in the Indigenous art world. Over a period of two weeks I dropped into Beaver's studio as he went about creating his latest work to be entered into this years Telstra Awards. He is a very shy person, with an amazing gift for creating beautiful art work. I also recorded a number of ladies around a table doing an adult education programme in multi-literacy, which enables them to work with modern technology to produce and promote their art works."
Denise Scott
Artist Denise Scott painting at the Ceduna Aboriginal Art and Culture Centre. The photographer describes the Centre, "The Ceduna Arts and Cultural Centre is Aboriginal owned and sells artwork on behalf of all artists involved. All profits from the centre go back into buying materials and developing new skills to ensure the continued running and upkeep of the centre. The way in which the business is presented and operated is innovative and has encouraged Indigenous participation not only in the arts, but also in the operation of a small business. It also provides a source of income for artists and a level of economic independence. On the several occasions that I visited the centre I was able to move freely among the artists as they did their art work. I found it fascinating to watch Denise painting with a tube of paint in one hand while she used a stick in the other hand to squash the paint down to make the patterns of the death adders. She didn't sketch the work first but just created it straight from her mind. Whilst in Stringy Bay I had been told to look out for an up-and-coming artist by the name of Beaver Lennon, who was making a name for himself in the Indigenous art world. Over a period of two weeks I dropped into Beaver's studio as he went about creating his latest work to be entered into this years Telstra Awards. He is a very shy person, with an amazing gift for creating beautiful art work. I also recorded a number of ladies around a table doing an adult education programme in multi-literacy, which enables them to work with modern technology to produce and promote their art works."
Beaver Lennon
Artist Beaver Lennon at the Ceduna Aboriginal Art and Culture Centre. The photographer describes the Centre, "The Ceduna Arts and Cultural Centre is Aboriginal owned and sells artwork on behalf of all artists involved. All profits from the centre go back into buying materials and developing new skills to ensure the continued running and upkeep of the centre. The way in which the business is presented and operated is innovative and has encouraged Indigenous participation not only in the arts, but also in the operation of a small business. It also provides a source of income for artists and a level of economic independence. On the several occasions that I visited the centre I was able to move freely among the artists as they did their art work. I found it fascinating to watch Denise painting with a tube of paint in one hand while she used a stick in the other hand to squash the paint down to make the patterns of the death adders. She didn't sketch the work first but just created it straight from her mind. Whilst in Stringy Bay I had been told to look out for an up-and-coming artist by the name of Beaver Lennon, who was making a name for himself in the Indigenous art world. Over a period of two weeks I dropped into Beaver's studio as he went about creating his latest work to be entered into this years Telstra Awards. He is a very shy person, with an amazing gift for creating beautiful art work. I also recorded a number of ladies around a table doing an adult education programme in multi-literacy, which enables them to work with modern technology to produce and promote their art works."
Dame Roma Mitchell
Dame Roma Mitchell (far right) on the day of the presentation of her commission as a Judge of the Supreme Court.
James Owen gravestone
Gravestone of James Owen, who died in 1877, and his wife Sophia, who died in 1884. Sophia Owen nee Bessell arrived in South Australia on the Buffalo with her first husband Robert Walker. She married James Owen in 1843 at Port Lincoln, where he built the Pier Hotel.
Betts Corner Homeland
View of Priscilla Hubert's home at Betts Corner Homeland, Ceduna. The photographer describes the homeland, "Betts Corner homeland was the last homeland to be built around the Ceduna region with ATSIC money and as result it is a very basic settlement. The day I visited Priscilla Hubert's house with Shelly I was very fortunate to be invited into her house for a cup of tea and make some images of the children. On average there is fifteen people living in this three bedroom house and when extended family and friends come to visit this can swell to thirty people. Once inside the house I found it to be very clean and orderly, all the children played beautifully together, Priscilla took me into the main bedroom where the kids were all watching Video Hits on TV and dancing. This was an amazing experience and I found it very rewarding to make images of this family group and give them some photographs to hang on their walls. An hour before going to Betts Corner I was two kilometers down the road at the Ceduna MotorX track where the South Australian State Titles were being held. The contract between the children at Betts Corner and the children at the track was stark. The kids at the track were dressed in the latest gear, riding motorbikes worth thousands of dollars, and their parents were camping in upmarket caravans towed by the latest 4WD's."
Photograph of a young boy riding a tricycle
Photograph of a boy about five years old, who is assumed to be the son of George Hausman and his wife,wearing an embroidered suit and hat, and posing on a tricycle. This photograph has been overpainted in colour.
Photograph of a young boy with a hoop
Photograph of a boy about five years old, who is assumed to be the son of George Hausman and his wife, leaning against a rock with a hoop and hook in his hand. This photograph has been overpainted in black and white, and some colour.
Bankart family members
Portrait of Elizabeth Bankart, seated, wearing a lace bonnet, and holding an envelope in her hand. On the back of the frame is inscribed, 'Aunt Eliz'th Bankart'. Possibly a relative of the Coleman family.
Rachel Young
Portrait of Rachel Young, seated, wearing a checked dress and holding crochet work in her hands. Inscribed on back of frame, 'Cousin Rachel Young', possibly a daughter of Elizabeth Bankart, and relative of the Coleman family.
Edith Bankart
Portrait of Edith Bankart, seated, wearing a short-sleeved dress, with lace collar, and a locket, holding a book in her hands. Inscribed on back of frame, 'Cousin Edith Bankart', possibly a daughter of Elizabeth Bankart, and relative of the Coleman family.
John Middleton
Ambrotype portrait of a man, assumed to be Jane Elizabeth Middleton's husband John Middleton, wearing a formal suit.
Ambrotype postage box
A wooden postage box, posted from Oswestry, Salop. England, on the 16th of December 1903, by Mary Fulcher, the second wife of George Fulcher, to Sarah Charlotte Shaw, wife of John Shaw, at Hindmarsh, South Australia. The box originally contained an ambrotype photograph of Sarah Charlotte, daughter of George Fulcher, aged about 8 years, standing with an elderly woman, likely to be her grandmother, the mother of George Fulcher (see PRG 1034/1/1). 15.2 x 20.2 x 2 cm.