BERYL MASEY worked as a photographic artist during the years of 1930 and 1937 in the area of Killara and Sydney, NSW.
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ELIZA MARTIN was a photographer, manager and co-proprietor, of the Foster & Martin studio in Melbourne, between the years of 1876 and 1900.
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The photographic portrait of Eliza Martin, above, was taken specifically for the 1888 Melbourne Centennial International Exhibition. The photographs were used as security and all those participating, as either contractors or exhibitors, were required to have one.
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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
EMMA MARSHALL worked as a photographer in the family’s photographic studio in Devonport, Tas, during the years 1926 to 1943.
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ADA MARSHALL was a photographer in the family’s photographic studio in Devonport, Tas, during the years of 1914 and 1943.
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IRENE MARKS was a photographer’s assistant working in Hobart, the capital city of Tasmania, between the years of 1928 and 1952
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