MOORE, DORIS
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MILLS, ALICE
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In this postcard, the studio of T. Humphrey, Artist and Photographer is clearly visible. Situated at 262 Collins St, this is where Alice Mills expanded her skills in photography before opening her first studio. Postcard of Collins Street, Melbourne, c1900s. Photoria Collection.
Portrait of three sisters. Taken at the T. Humphrey & Co studio. Large, toned photograph mounted on cream board. Alice Mills and her artist husband, Tom Humphrey, both worked as photographers at this Collins St studio. Photoria Collection.
Portrait of a woman in evening dress. Taken at the Tom Humphrey Studio on Collins St, Melbourne. Oval photograph mounted on gray card which is mounted on a timber board. Photographer during the period that Humphrey and Mills shared the studio on Collins St. Taken c1899 to 1904.
Portrait of a young woman. Taken by Alice Mills at the Collins St studio she shared with her husband, the artist, Tom Humphrey. c1899 to 1904. Photoria Collection.
A group portrait of ten Pierrettes. Taken by Alice Mills at the Collins St studio she shared with her husband, the artist, Tom Humphrey. c1899 to 1904. Photoria Collection
View of the intersection of Elizabeth and Collins Streets, Melbourne. On the right of the card the tall building with the skylights and small domed structure is Brunton Chambers, later, Alstons’ Chambers. Mills’ studio is at the top of the building. She worked there for 18 years between 1904 and 1922. Photoria Collection
Portrait of a woman seated in a chair on a balcony drinking tea. Studio portrait taken by Alice Mills, c.1904 to 1910. Black and white photograph, set within an oval and mounted on cream board. Photoria Collection
In 1908 Mills made a successful application for a patent for this metal photographic frame. Included was this example of its use. National Archives of Australia, A1337/230, Application for registration of a design by Alice Humphrey trading as Alice Mills
Portrait of an older gentleman. Taken by Alice Mills c1904-1910. B&W photograph with square white border, mounted on brown board. Source: Bill Purvis
A postcard of Collins St, Melbourne showing Centre Way in which Mills had her studio between 1923 and 1929. The building, still called Centre Way, is part of 21st century life on Collins St between Swanston and Elizabeth Streets. Photoria Collection
Portrait of A C Small. Black and white photograph, oval cut and mounted within decorative oval frame and mounted on textured beige card. Taken at Alice Mill’s The Centreway Studio, c 1920s.
Group portrait of ten gentlemen. Taken by Alice Mills c.1923 to 1929, taken at The Centreway Studio. Sepia-tinted photograph matted in card frame and mounted on brown board. Photoria Collection
Portrait of a man wearing his corporal’s uniform from WW1. Taken by Alice Mills, c1920s. Photoria Collection.
MILLAR, AMY
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MCDONALD, CLARA STANLEY
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MARTIN, ELIZA
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Album
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