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Portrait of a woman in traditional dress. Taken at the Evalyn Mellor Studio, c.1940s. Beautifully hand-coloured photograph, mounted on cream card. Photoria Collection.
Portrait of a bride and groom. Hand-coloured wedding photograph, no mount, taken by the Evalyn Mellor Studio, Newcastle, NSW, c1950s. Photoria Collection
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Photograph wallet. c1920-1930s. Printed black on brown paper with purple studio stamp. 15cm x 8.9cm. Photoria Collection
Portrait of Richard and Gavan. 1934. Sepia-toned photograph, 15.1cm x 9.8cm mounted on brown card, 16cm x 10.5cm, in presentation folder. Source: Photoria Collection
Main St, Bairnsdale, Black Friday Bushfires, January 13th 1939. B&W Postcard 13.8cm x 8.8cm. Source: Photoria Collection
Reflections, Mitchell Bridge, Bairnsdale. 1941. B&W print, 9 cm x 6.3cm. Source: Photoria Collection
Public Buildings, [Post Office and Court House]. Bairnsdale. 1941. B&W print, 9cm x 6.3cm. Source: Photoria Collection
The Avenue Mitchell Gardens, Bairnsdale. 1941. B&W print, 9 cm x 6.3cm. Source: Photoria Collection
The Picturesque Mitchell River, Bairnsdale. 1941. B&W print, 9 cm x 6.3cm. Source: Photoria Collection
The Beautiful Mitchell River, Bairnsdale. 1941 B&W print, 9cm x 6.3cm. Source: Photoria Collection
A Beautiful View of the Mitchell River, Bairnsdale. 1941. B&W postcard, 13.8cm x 8.8cm. Source: Photoria Collection
A Bend of the Snowy River Above the Bridge. 1941. B&W postcard 9cm x 14cm. Source: State Library of Victoria
Mitchell River, Bairnsdale. 1941. B&W postcard, 13.8cm x 8.8cm. Source: Photoria Collection
Rowing Shed and Swimming Pool, Bairnsdale. 1941. B&W print, 9cm x 6.3cm. Source: Photoria Collection
Main Street, Bairnsdale. 1941. B&W print, 9cm x 6.3cm. Source: Photoria Collection
Main Street, Bairnsdale, from Water Tower. 1941. B&W postcard, 13.8cm x 8.8cm. Source: Photoria Collection
“Eucalypt”, Monaro. 1 photographic print : gelatin silver ; 20.3 x 15.2 cm, on card 29.5cm x 25.3cm. Source: State Library of Victoria
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View of the Willaura Hotel on Main St, in Hamilton, Vic. Black and white photograph taken by Elizabeth Mason between 1916 and 1923. Photoria Collection
Shearers and shed hands at Merino Downs station, Merino, Victoria, 1920. Scanned from the glass negative originally taken by Elizabeth Mason in 1920. Museums Victoria Collections https://collections.museumsvictoria.com.au/items/766490 Accessed 21 June 2026
Anglican Church, Henty, Victoria. Scanned from the glass negative originally taken by Elizabeth Mason in 1920. Museums Victoria Collections https://collections.museumsvictoria.com.au/items/766491 Accessed 21 June 2026
Portrait of a bride and groom. Black and white postcard, c1920s. Photograph taken by Elizabeth Mason at her Austral Studio in Hamilton. Photoria Collection
Portrait of a bride and groom, reverse side. Black and white postcard, c1920s. Photograph taken by Elizabeth Mason at her Austral Studio in Hamilton. Photoria Collection
Portrait of a teenage girl wearing a white dress, a bangle and holding a posy of flowers. Sent to Len and Maude from Ethel. Postcard, c1920s. Photograph taken by Elizabeth Mason at her Austral Studio in Hamilton. Photoria Collection
Portrait of a teenage girl wearing a white dress, a bangle and holding a posy of flowers. Sent to Len and Maude from Ethel. Reverse side. Postcard, c1920s. Photograph taken by Elizabeth Mason at her Austral Studio in Hamilton. Photoria Collection
Portrait of two women. Black and white postcard. Taken by Elizabeth Mason in the 1920s. Photoria Collection
Portrait of two women. Reverse side. Black and white postcard. Taken by Elizabeth Mason in the 1920s. Photoria Collection
Portrait of a young woman. Warm-toned black and white postcard by Elizabeth Mason at the Austral Studio, Hamilton & Casterton, Victoria, c1910s. Photoria Collection.
Portrait of a young woman. Reverse side. Warm-toned black and white postcard by Elizabeth Mason at the Austral Studio, Hamilton & Casterton, Victoria, c1910s. Photoria Collection.
Full-length portrait of a young man in full Scottish ceremonial regalia, holding a bagpipe. Warm-toned black and white postcard by Elizabeth Mason at the Austral Studio, Hamilton & Casterton, Victoria, c1910s. Photoria Collection.
Full-length portrait of a young man in full Scottish ceremonial regalia, holding a bagpipe. Reverse side. Warm-toned black and white postcard by Elizabeth Mason at the Austral Studio, Hamilton & Casterton, Victoria, c1910s. Photoria Collection.
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A cabinet card portrait of the Shakespearian actor Mrs Mary Frances Scott Siddons who is dressed as Lady Macbeth. She was touring Australia and Macbeth was performed in Melbourne in mid-September, 1876. Photoria Collection
A cabinet card portrait, (reverse side) of the Shakespearian actor Mrs Mary Frances Scott Siddons who is dressed as Lady Macbeth. She was touring Australia and Macbeth was performed in Melbourne in mid-September, 1876. Source: Photoria
Portrait of Thomas Pope Besnard (1798-1878). Besnard was an actor in Bendigo during the 1850s. This carte de visite is likely to be a reissue of a contemporary image from that time and reprinted upon his death in 1878. Photoria Collection
Portrait of Thomas Pope Besnard (1798-1878). (Reverse side). Besnard was an actor in Bendigo during the 1850s. This carte de visite is likely to be a reissue of a contemporary image from that time and reprinted upon his death in 1878. Photoria Collection
Portrait of two girls dressed in costume. This carte de visite taken at Foster and Martin’s between 1876 and 1879 shows the girls dressed for the Turn Veren. This was an annual German community’s picnic. Part of the ritual of the celebration was to have a photograph taken before the festivities began. Many of the Melbourne-based photographers participated and advertised appropriately. Photoria Collecion
Collins Street improvements: the Cafe Gunsler, Fletcher’s Art Gallery, and Mullen’s Library [picture]. (1879). Melbourne: Alfred May and Alfred Martin Ebsworth. State Library of Victoria Foster and Martin’s is above Samuel Mullen’s on the right hand side of the picture. It’s entrance is to the left of Mullen’s with, no doubt, several flights of stairs to climb. Photoria Collection.
A cameo portrait of a woman. Foster and Martin, 1879. This carte de visite is a photographic reproduction a much earlier portrait. Photoria Collection
A cameo portrait of a woman (reverse side), by Foster and Martin, 1879. This carte de visite is a photographic reproduction a much earlier portrait. Photoria Collection
A portrait of Annie Tayler on her sixth birthday. Carte de visite taken by Foster and Martin, 1879. Photoria Collection
A portrait of Annie Tayler on her sixth birthday, (reverse side). Carte de visite taken by Foster and Martin, 1879. Photoria Collection
Portrait of three young women, (reverse side). This carte de visite shows a rare intimacy between the sitters, suggesting they’re great friends or related to each other. It was taken at Foster and Martin’s between 1876 and 1879. Photoria Collection.
Portrait of three young women, (reverse side). This carte de visite shows a rare intimacy between the sitters, suggesting they’re great friends or related to each other. It was taken at Foster and Martin’s between 1876 and 1879. Photoria Collection.
Portrait of a woman standing against a painted backdrop, her hands placed on a chair. Taken between 1879 and 1881. Photoria Collection
Portrait of a woman standing against a painted backdrop, her hands placed on a chair, (reverse side). Taken between 1879 and 1881. Photoria Collection
Portrait of a baby dressed in, what is possibly, its christening gown. This carte de visite was taken by Foster and Martin between 1876 and 1879. The knack to keeping baby still consisted of two approaches: one was the various stands a sitter could be strapped to or positioned by. The second was the “hidden mother” approach where the trusted adult was situated behind drapery but the child knew they were there and remained calm. The cut corners indicates this cart de visite was either framed or placed in an album, the corners being cut to get it to fit. Photoria Collection
Portrait of a baby dressed in, what is possibly, its christening gown, (reverse side). This carte de visite was taken by Foster and Martin between 1876 and 1879. The knack to keeping baby still consisted of two approaches: one was the various stands a sitter could be strapped to or positioned by. The second was the “hidden mother” approach where the trusted adult was situated behind drapery but the child knew they were there and remained calm. The cut corners indicates this cart de visite was either framed or placed in an album, the corners being cut to get it to fit. Photoria Collection
A three-quarter portrait of Mary Louisa Jayne, standing next to a chair. Taken in September 1884, the camera has picked up great detail which has been further enhanced by the retoucher and other post-camera processing. It also indicates that Foster and Martin may have updated their processing. Photoria Collection
A three-quarter portrait of Mary Louisa Jayne, standing next to a chair, (reverse side). Taken in September 1884, the camera has picked up great detail which has been further enhanced by the retoucher and other post-camera processing. It also indicates that Foster and Martin may have updated their processing. Photoria Collection
Portrait of an older woman. Taken at Foster and Martin between 1881-1884. This faded carte de visite of an older woman shows the retouching work of the woman’s right eye. Photoria Collection
Portrait of an older woman, (reverse side). Taken at Foster and Martin between 1881-1884. This faded carte de visite of an older woman shows the retouching work of the woman’s right eye. Photoria Collection
Portrait of William Northcote Lloyd Tayler (1861-1919). This cameo portrait, beautifully hand-coloured, was possibly taken on Tayler’s 20th birthday in 1881. It displays the new Foster and Martin logo. Photoria Collection
Portrait of William Northcote Lloyd Tayler (1861-1919), (reverse side). This cameo portrait, beautifully hand-coloured, was possibly taken on Tayler’s 20th birthday in 1881. It displays the new Foster and Martin logo. Photoria Collection
“The Block”, artwork by J Walters Wilson, and engraving by P Naumann. In 1886 Melbourne’s Collins Street was the place to be seen promenading in the latest fashions. It was also the place to be photographed and Foster and Martin’s studio signage can be seen at the top and right of centre. State Library of Victoria.
Portrait of two young women standing arm-in-arm. Cabinet card taken at Foster and Martin circa late 1880s. Photoria Collection
Portrait of two young women standing arm-in-arm, (reverse side). Cabinet card taken at Foster and Martin circa late 1880s. Photoria Collection
Cabinet card portrait of Miss Isabel Wilkie (1860-1947), deep in thought and holding a fur muff to her cheek. Isabel Wilkies was a daughter of Dr Wilkie and the future spouse of Sir Robert Baillie. Photoria Collection
Cabinet card portrait of Miss Isabel Wilkie (1860-1947), deep in thought and holding a fur muff to her cheek, (reverse side). Isabel Wilkie was a daughter of Dr Wilkie and the future spouse of Sir Robert Baillie. Photoria Collection
Taken from the Melbourne Town Hall circa 1883, this elevated view of Collins St, Melbourne shows the prominent signage for Foster and Martin. Photographer: Charles Nettleton. Photoria Collection
A portrait of a serious young man. Cabinet card taken between 1890 and 1900 at Foster and Martin’s new address on Collins St, Melbourne. Photoria Collection
A portrait of a serious young man, (reverse side). Cabinet card taken between 1890 and 1900 at Foster and Martin’s new address on Collins St, Melbourne. Photoria Collection
Portrait of Douglas Warford Mein (1878-1923). Cabinet card,, taken c1894, perhaps for his 16th birthday. Photoria Collection
Douglas Warford Mein (1878-1923), (reverse side). Cabinet card, taken c1894, perhaps for his 16th birthday. Note that the back has no logo as it appears on the front. Photoria Collection
Pulteney Warford Mein (1876-1955). Cabinet card, taken c1894, perhaps for his brother’s 16th birthday. Note that the back has no logo as it appears on the front. Photoria Collection
Pulteney Warford Mein (1876-1955), (reverse side). Cabinet card, taken c1894, perhaps for his brother’s 16th birthday. Note that the back has no logo as it appears on the front. Photoria Collection
Portrait of Miss Annie Thom. Cabinet card taken between 1890 and 1900. NB. the logo is on the front and not the back of the photograph. Photoria Collection
Portrait of Miss Annie Thom (reverse side). Cabinet card taken between 1890 and 1900. NB. the logo is on the front and not the back of the photograph. Photoria Collection
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View of Gilbert Street in Devonport, Tasmania. Postcard, 1908. A W Marshall’s studio is marked with a cross. Photoria Collection.
Portrait of young woman. Black and white postcard, c 1920s. Taken at the A W Marshall Studio, Devonport, Tasmania. Photoria Collection
Portrait of young woman. Reverse side.Black and white postcard, c 1920s. Taken at the A W Marshall Studio, Devonport, Tasmania. Photoria Collection
Portrait of three people, two women in the front and a man middle back row. Black and White postcard, c 1920s. Taken at the A W Marshall Studio, Devomport, Tasmania. Photoria Collection
Portrait of three people, two women in the front and a man middle back row. Reverse side. Black and White postcard, c 1920s. Taken at the A W Marshall Studio, Devomport, Tasmania. Photoria Collection
Three siblings, the youngest in a chair, hold still in a pose for the photographer. B&W postcard, taken in the 1920s, at the A W Marshall Studio, Devonport, Tasmania. Photoria Collection
Three siblings, the youngest in a chair, hold still in a pose for the photographer. Reverse side. B&W postcard, taken in the 1920s, at the A W Marshall Studio, Devonport, Tasmania. Photoria Collection