Australia

Aboriginal and Torres Strait Islander viewers are advised that this archive contains images, names and voices of people who have died. A country told through objects, documents and dates rather than landscape. Stone channels cut into a lava flow in western Victoria to farm eels, one of them carbon dated to six thousand six hundred years, and a World Heritage listing that arrived in 2019. A dictation test that could be given in any European language and was designed to be failed. Boards painted at a settlement west of Alice Springs in 1971, on which the dots were added to cover what outsiders were not meant to see. A hoist in a back yard that the man it is named after did not invent. Eight thousand seven hundred and nine dead at Gallipoli and a legend built afterwards by a war correspondent. An apology delivered in a chamber in Canberra in February 2008, and a referendum that failed fifteen years later with only one territory voting yes.

A chronological documentary of 2,125 moments spanning 1777–2026 on Loreline.

Curated by Olivier · last updated 2026-09-20

Eras

  1. - The prison hulk Justitia at Woolwich. Convicts labour on the shore at Woolwich Warren with the 260 ton hulk Justitia moored in the Thames behind them. The hulks filled up after the American War of Independence closed off transportation to the former colonies, leaving Britain with sentenced prisoners and nowhere to send them. Botany Bay was the answer to that backlog.
  2. - List of female convicts on the Lady Penrhyn. A manuscript roll of the women carried aboard the Lady Penrhyn, compiled around 1790 by Arthur Bowes Smyth, the ship's surgeon. The Lady Penrhyn sailed with the First Fleet in May 1787 carrying only women prisoners. Names on lists like this are often the only surviving record of a transported person.
  3. - A First Fleet convict list. A handwritten list of prisoners from the papers of the surgeon Arthur Bowes Smyth, held by the State Library of New South Wales. About 162,000 convicts were transported to the Australian colonies across the whole period of transportation. Roughly 1,400 people sailed with the First Fleet, of whom about half were convicts.
  4. - The Friendship transport, 13 May 1787. A list of prisoners aboard the Friendship dated the day the First Fleet sailed from Portsmouth. The voyage to Botany Bay took just over eight months. Compared with later mass transportations, First Fleet mortality was low, which the officers attributed to their own provisioning.
  5. - Women received from the Charlotte. A receipt list of female convicts transferred from the transport Charlotte. Women were about fifteen per cent of all convicts sent to the Australian colonies. The paperwork treated them as consignments to be signed for.
  6. - Weather journal of HMS Sirius. A daily noon weather record kept aboard the fleet's flagship. Sirius was the naval escort for the transports and the colony's link to the outside world. She was wrecked off Norfolk Island in March 1790, stranding the settlement's supply line.
  7. - Arrived in Botany Bay, January 1788. A note written inside a journal cover recording arrival at Botany Bay on 20 January 1788. The fleet found the bay unsuitable and moved north to Port Jackson within days. The colony's founding date is taken from the landing there on 26 January.
  8. - Lieutenant Ball signs at Sydney Cove. A document signed by Henry Lidgbird Ball aboard HMS Supply at Sydney Cove in April 1788, ten weeks after the landing. Supply was the smallest ship of the fleet and the fastest. Ball took her to Norfolk Island in February 1788 to plant a second settlement there.
  9. - An account of Port Jackson timber. Notes inserted into a First Fleet journal assessing the local timbers and what each was good for. Building the settlement depended on answering questions like this by trial. Much early construction failed because the assessments were wrong.
  10. - The First Fleet at Botany Bay. An engraving by T. Medland after a drawing by R. Cleveley, published in Arthur Phillip's account of the voyage. Aboriginal people watch from canoes in the foreground as the ships come in, with Bare Island and Cape Solander behind. The image is a British publication's version of the arrival, drawn for readers in London.
  11. - Charles Gore paints Botany Bay. A watercolour of the bay made about 1789, held by the State Library of New South Wales. The wide low shoreline was what the fleet rejected: poor soil, no reliable fresh water, exposed anchorage. The settlement went to Sydney Cove instead.
  12. - Losses in the wreck of the Sirius. An inventory of what went down when HMS Sirius struck the reef at Norfolk Island in March 1790. The loss came during the colony's worst period of shortage, before the arrival of the Second Fleet. Rations at Sydney Cove had already been cut.
  13. - Richard Dry, transported after 1798. A portrait of Richard Dry, sentenced to transportation following the Irish rising of 1798 as a supporter of Lord Edward Fitzgerald. Political prisoners from Ireland formed a distinct group among the transported. His son became the first native born premier of Tasmania.
  14. - Lycett painting of a corroboree. A corroboree at Newcastle as painted by Joseph Lycett around 1818. Lycett was a convict artist and the image is a colonist's record of Aboriginal people made by someone with no standing to interpret what he was watching.
  15. - Government gaol gang, Sydney. Augustus Earle's view of a chained government gaol gang, published in his Australian scrap book in 1830. Iron gangs were the punishment tier for convicts who reoffended in the colony. Earle travelled widely and drew what he saw, which makes his plates unusual among period images.
  16. - Convicts in New South Wales. A lithograph after Augustus Earle, printed in London by Charles Joseph Hullmandel and published by J. Cross in 1830. The plate circulated an image of colonial convict labour to a British audience that had sentenced the men in it. The original is held by the State Library of New South Wales.
  17. - Towtrer, painted by William Buelow Gould. A portrait of Towtrer, described as a leader of the Port Davey people in south west Tasmania, painted in 1833 by William Buelow Gould and held by the State Library of New South Wales. Gould was a convict artist transported for theft who was set to painting natural history specimens and portraits.
  18. - Benjamin Law's bust of Trucaninny. A plaster bust by Benjamin Law titled Trucaninny, Wife of Woureddy, made in Hobart in the 1830s and held by the National Portrait Gallery in Canberra. Law produced these as a commercial pair for sale to colonists, which makes them among the earliest sculptures made in the colony and also an early example of Aboriginal people turned into saleable objects.
  19. - Plan of the Norfolk Island barracks. A coloured plan dated 31 March 1838, marking out the wards of the prisoner barracks including an invalid ward and a boys' ward. The second Norfolk Island settlement, running from 1825, was deliberately built as the harshest destination in the system. The plan is held by State Records New South Wales.
  20. - Commandant Charles O'Hara Booth. Thomas James Lempriere painted the Port Arthur commandant around 1840. Booth was appointed in March 1833 with authority over every station on the Tasman Peninsula, and laid out the township, the harbour works and the semaphore line. From 1840 his jurisdiction narrowed to Port Arthur and the boys' establishment at Point Puer.
  21. - A conduct register entry. A detail from the Van Diemen's Land conduct register for George Jones, held by the Tasmanian Archives. Registers under the assignment system recorded every offence, punishment and reassignment across a sentence. They are now the main genealogical route back to individual convicts.
  22. - Conrad Martens paints Government House. Conrad Martens made this oil painting in 1842, held by the State Library of New South Wales. Martens had arrived in Sydney in 1835 after sailing as artist aboard the Beagle. His view presents the seat of colonial authority as landscape rather than as administration.
  23. - John Hall of Dublin, died 1843. A headstone for John Hall, native of the city of Dublin, who died on 9 September 1843 aged 24. Norfolk Island in the 1840s held men sent as a further punishment after reoffending in New South Wales or Van Diemen's Land. Few of the dead have stones at all.
  24. - The Cascades Female Factory in 1844. John Skinner Prout's hand coloured lithograph shows the female factory in Hobart from Proctor's Quarry. Women sentenced to the factory worked in laundry and needlework under a class system that governed food, contact with children and the possibility of release. The site is one of the eleven Australian Convict Sites inscribed as World Heritage.
  25. - A convict love token. A copper disc filed smooth from a 1797 penny and engraved by hand, in the National Museum of Australia. Thomas Lock was sentenced to ten years transportation in 1845 for highway robbery and stealing, and made or commissioned this before he sailed. Tokens like it were left with families who would almost certainly never see the sender again.
  26. - Port Arthur in 1845. John Skinner Prout's pencil and watercolour view of the settlement, held by the State Library of New South Wales. By 1845 Port Arthur was a working industrial site with shipyards, a flour mill and a timber trade, all run on convict labour. It operated from 1830 until 1877.
  27. - Forged notes in an 1845 arrest file. Fraudulent banknotes kept as evidence after the arrest of the labourer Timothy O'Meara on 3 May 1845. He told authorities he needed the money to buy a rifle. Property offences of this kind account for the large majority of transportation sentences.
  28. - A murdered overseer, 1846. The stone of Stephen Smith, a free overseer at Norfolk Island and a native of Dublin, aged 40, recorded as barbarously murdered by a body of prisoners on 1 July 1846. The killing came during the period of the second settlement's worst violence. The wording is the administration's account, cut in stone.
  29. - Convicts push the Port Arthur tramway. A painting of about 1852 showing prisoners pushing passenger carts along the tramway, made in 1855 by Godfrey Charles Mundy or his wife Louisa and published in Mundy's book Our Antipodes. There was no locomotive: the men were the engine. John Watt Beattie photographed the painting decades later and added the caption.
  30. - Tower Hill in 1855. Von Guerard worked on this panorama of the Tower Hill maar and its inset scoria cones between 15 August and 5 October 1855. The painting recorded the native vegetation in enough detail that it was later used as a reference for replanting the degraded reserve. Tower Hill lies west of Warrnambool on the same volcanic plain.
  31. - Men in possum skin cloaks at Penshurst. A group of Aboriginal men wearing possum skin cloaks and blankets, photographed at Penshurst in western Victoria in 1858 by Antoine Fauchery. Cloaks were sewn from dozens of pelts and incised on the skin side with designs then rubbed with ochre. A further figure at the left of the plate has been blotted out and only a blur remains.
  32. - Von Guerard paints the Mount Eccles crater. Eugene von Guerard's mid nineteenth century view of the crater lake, painted while the colony was still calling Budj Bim by its settler name. The accompanying text praises the irregularity of the structure and the brilliant green of the water. Nothing in the colonial record of the period registers the aquaculture system across the flow below.
  33. - A convict artist paints Mary Tame. Charles Henry Theodore Costantini, born in France in 1803, painted this portrait of Mary Tame during his years in the Tasmanian colony. He was himself a transported convict and worked as an artist there from the 1820s until his death in 1860. Convict artists produced a substantial share of the surviving colonial portraits.
  34. - Colonial depiction of a Murray River corroboree. A corroboree on the Murray River in a colonial depiction from 1865. Images of this kind were made by and for Europeans, and the ceremonies themselves are not the archive's to interpret.
  35. - Marcus Clarke in riding gear. 1866. He arrived in Victoria from London at seventeen and worked on a station before turning to journalism.
  36. - Owen's plate of Diprotodon australis. An illustration from Richard Owen's paper on the fossil mammals of Australia, published in the Philosophical Transactions in 1870. Owen worked entirely from specimens shipped to London and never visited Australia. His naming of the megafauna established the framework that later Australian palaeontologists worked within and against.
  37. - Paired portraits sold as the last Tasmanians. A printed sheet pairing portraits of Truganini and William Lanne, captioned as the last Tasmanian woman and the last Tasmanian man, held by the Rijksmuseum. Images like this circulated internationally as ethnographic curiosities. After Lanne died in 1869 his body was mutilated and parts taken by competing collectors, and Truganini asked before her death in 1876 that her remains not be treated the same way.
  38. - Head shots from a colonial collection. Two head shots of Truganini and William Lanne from about 1870, associated with the papers of James Barnard, Government Printer of Tasmania, who read a paper to the Royal Society of Tasmania in 1889 titled Notes on the last living Aboriginal in Tasmania. The framing tells you what the colony wanted to believe about itself.
  39. - Darlington probation station. The station on Maria Island photographed around 1870, from a collection assembled by E. R. Pretyman. Under the probation system introduced in the 1840s, convicts served a fixed term of gang labour before becoming eligible for a pass. Darlington later became a cement works and then a national park.
  40. - The Carandini family. 1875, among the first opera performing families in Australia. Marie Carandini toured colonial theatres for decades before Melba's generation.
  41. - Alfred Deakin as a young man. A studio portrait of the Victorian politician made by Johnstone, O'Shannessy and Company in 1876, when he was about twenty. As Attorney General he drafted and introduced the Immigration Restriction Act 1901, the founding statute of the White Australia policy, and he served three terms as prime minister. He argued the exclusion in the language of racial unity rather than of labour competition.
  42. - Breastplate given to Billy Hippie. An engraved brass breastplate presented to Billy Hippie, an Aboriginal stockworker at Minnon Station, showing him riding down runaway cattle. Colonists issued these crescent plates, often called king plates, to individuals they chose to designate as leaders, which cut across the authority structures actually in place. This one is held by the National Museum of Australia.
  43. - Deakin photographed by Stewart and Company. A second early studio portrait of Alfred Deakin, taken in 1877. He entered the Victorian parliament at twenty two and was a leading federationist through the conventions of the 1890s. The Act he shepherded through in 1901 avoided naming any race, substituting a dictation test that officers could set in any European language.
  44. - Football under electric light at the MCG, 1879. James Waltham Curtis drew this Australian football match played under electric lamps at the Melbourne Cricket Ground on 30 August 1879, one of the earliest attempts anywhere to light a field game artificially. The code had been codified in Melbourne in 1859 and by 1879 was already the winter game of Victoria. Whether the Aboriginal ball game marn grook influenced its invention is disputed, and historians including Gillian Hibbins, who wrote the AFL's own official history, reject the claim.
  45. - Feeding a pet lamb at Trundle. A hand-fed lamb takes milk from a bottle on a property at Trundle in central western New South Wales. The photograph belongs to the State Library of New South Wales series At Work and Play, which covers rural life across the state between 1880 and 1940. Orphan lambs raised at the house were a normal part of station work and often the children's job.
  46. - Marcus Clarke. 1880. His novel For the Term of His Natural Life, serialised from 1870, fixed the convict system in Australian fiction.
  47. - Clare brass band. The Clare brass band in South Australia in the 1880s, with members of one family. Brass banding was the mass participatory music of Australian country towns before radio.
  48. - Barak paints dancers in possum skin cloaks. A work by William Barak of the Wurundjeri people made at Coranderrk in Victoria, showing dancers and women wearing possum skin cloaks. Barak was born about 1824 and died in 1903, and he led the Coranderrk residents' long campaign against the closure of their station. Only about seven original possum skin cloaks survive in collections.
  49. - The separate chapel at Port Arthur. An albumen print by the Anson Brothers, made between 1875 and 1885, showing the chapel of the separate prison with its individual partitioned stalls. Prisoners under the separate system could attend a service without seeing one another. Silence and isolation replaced flogging as the primary instrument.
  50. - Penitentiary corridors, Port Arthur. The Anson Brothers photographed the cell corridors of the penitentiary in the decade the settlement closed. The building had begun as a flour mill and granary before conversion. Their series Views in Tasmania is held by the State Library of New South Wales.
  51. - The penitentiary below Mount Arthur. The long penitentiary building set against the hill, in an albumen print from the Anson Brothers series. Port Arthur closed as a penal settlement in 1877 and its buildings were sold off and burned in bushfires soon after. The photographers were recording a place already becoming a ruin.
  52. - Kaawirn Kuunawarn, Kirrae Wuurong. A portrait of Kaawirn Kuunawarn, whose name is given as Hissing Swan, published as the frontispiece to James Dawson's 1881 book on the languages and customs of peoples of the western district of Victoria. Dawson worked with Aboriginal informants and named them, which was unusual for the period.
  53. - Yarruun Parpur Tarneen, Morporr. A portrait of Yarruun Parpur Tarneen, whose name is given as Victorious, published in James Dawson's 1881 volume on the peoples of western Victoria. Dawson recorded her as a leader of the Morporr, and his daughter Isabella did much of the fieldwork the book rests on.
  54. - Three Aboriginal people photographed at the Crystal Palace. A Negretti and Zambra photograph of three Aboriginal people exhibited at the Crystal Palace in London in 1884, now held by the Rijksmuseum. They were displayed to paying audiences as a commercial attraction and are not named in the record. The image is included as evidence of that traffic, made by the exhibitors rather than by the people shown.
  55. - Nellie Melba in 1888. Nellie Melba photographed by Nadar in Paris in 1888, the year she made her operatic debut in Brussels. Born Helen Porter Mitchell at Richmond in Melbourne, she took her stage name from her city.
  56. - Illustration for The Teams. An illustration for Lawson's poem The Teams. Bullock teams and the men who drove them were standard subject matter for the Bulletin school of writing.
  57. - Melba as Ophelie. 's Hamlet around 1890. She sang at Covent Garden for decades and became the most internationally famous Australian of her era.
  58. - Paterson around 1890. Paterson photographed around 1890, the year The Man from Snowy River appeared in the Bulletin. He published under the pen name The Banjo, taken from a station racehorse.
  59. - William Lyne photographed in 1891. A studio portrait by the Freeman Brothers of the New South Wales politician who was premier at Federation. Lyne was first invited to form the inaugural federal government but could not, and Barton took the commission instead. He held the trade and customs portfolio, the department that administered the dictation test at the wharves.
  60. - Mary Gilmore in 1891. 1902 and wrote for six more decades.
  61. - Henry King photographs the Brewarrina traps. Henry King, a Sydney commercial photographer, made this view of the stone fish traps in the Barwon River at Brewarrina around 1893. The image is a settler photographer's record of Ngemba work, taken without any record of consent from the people who built and maintained the trap system. The traps are known as Baiame's Ngunnhu.
  62. - The Brewarrina fishery in a fisheries report. A plate captioned Brewarrina Fishery, published by fisheries official Lindsay G. Thompson in 1893 and catalogued under traditional fisheries. The framing is administrative: an Aboriginal engineering system entering the colonial record as a resource to be inventoried. Attribution for the image sits with Thompson and the New South Wales fisheries apparatus, not with the Ngemba.
  63. - Seven Little Australians manuscript. A page of the Seven Little Australians manuscript. Turner wrote it in her twenties and it was published in London in 1894.
  64. - Choir in the Adelaide Exhibition Building. A choir in the Exhibition Building at Adelaide in 1893. Choral singing was the largest organised musical activity in colonial Australia.
  65. - Winnecke surveys Hermannsburg, 1894. Charles Winnecke's survey of the mission station, made for the Horn Scientific Exploring Expedition in 1894. The Territory was then administered by South Australia. Expedition science and mission administration mapped the same ground in the same decade.
  66. - Apollo Orchestra, Charters Towers. The Apollo Orchestra at Charters Towers in 1895. The north Queensland gold town supported orchestras, choirs and a stock exchange at its peak.
  67. - Truganini and William Lanne in the press. Photographs of Truganini and William Lanne by Charles A. Woolley, reprinted in The Tasmanian under the heading Last Members of a Past Race. The heading was false. Palawa people survived, their descendants continue in Tasmania today, and the extinction story was used to justify the seizure of land and the disturbance of remains.
  68. - Heinicke's Grand Orchestra. 1896. Commercial orchestras played for dancing, theatre and silent film before recorded sound.
  69. - The constitution drafting committee of 1898. John Downer, Edmund Barton and Richard O'Connor, the three men appointed at the Adelaide session of the 1897 to 1898 convention to draft the Commonwealth Constitution. Section 51 of their draft gave the new parliament power over immigration and emigration and over the people of any race for whom special laws were deemed necessary. Barton became the first prime minister.
  70. - Sergeant Whiteford and police trackers. A Queensland police sergeant photographed with Aboriginal trackers in 1898, from the Queensland State Archives. Trackers were employed by colonial and state police forces for their skill in reading ground, and were paid little or nothing while the officers they worked under took the credit. The image was made by and for the police force that employed them.
  71. - The last meeting of the Federal Council of Australasia. Delegates and officers of the Federal Council of Australasia photographed at its final meeting in 1899, with Western Australia, Victoria, Tasmania and Queensland represented. The council was a weak advisory body that New South Wales never joined, and Federation superseded it. Its members carried the exclusionary immigration laws of the separate colonies into the debate over a national statute.
  72. - Geelong brass band. The Geelong brass band in 1899. Bands competed at contests, played at civic events and were often funded by mines, churches or friendly societies.
  73. - Tivoli Theatre, Castlereagh Street. The Tivoli Theatre on Castlereagh Street in Sydney around 1900. The Tivoli circuit carried vaudeville and variety across Australia for six decades.
  74. - Picture theatre at Collaroy Beach. A picture theatre at Collaroy Beach on Sydney's northern beaches. Beachside cinemas were part of the interwar Australian summer.
  75. - Two pure merino rams, sketched. A book engraving of two pure merino rams, held by the State Library of South Australia with neither artist nor volume recorded. Merinos were brought into New South Wales from the 1790s and selectively bred for fineness of fleece rather than meat. The breed carried the Australian wool clip for the whole of the nineteenth century.
  76. - Caricature of Alfred Deakin. A caricature drawn for a Melbourne Herald competition to name the ten best citizens of Victoria in 1900, in which Deakin placed ninth. A pencilled joke on the sheet reads that it is a base libel. The drawing was made in the year before he introduced the immigration restriction bill in the first federal parliament.
  77. - Longstaff portrait of Lawson. John Longstaff's portrait of Henry Lawson, painted in 1900. Longstaff also painted the Archibald Prize winning portrait of Lawson in 1925, after the writer's death.
  78. - South Sea Islander huts at Palmyra plantation. Workers' huts on a sugar plantation near Mackay in Queensland, photographed around 1900 by an unknown photographer for what is now the John Oxley Library at the State Library of Queensland. Around sixty thousand Pacific Islanders were brought to Queensland to cut cane between 1863 and 1904, many by coercion. The Pacific Island Labourers Act 1901 provided for their deportation, and most were removed after 1906.
  79. - Church choir, Charters Towers. A church choir at Charters Towers in 1900. Congregational singing trained most Australians who could read music.
  80. - Bilin Bilin at Deebing Creek. Bilin Bilin photographed seated outside a tent at the Deebing Creek Aboriginal Mission near Ipswich in Queensland around 1900. Bilin Bilin was a Yugambeh leader who had negotiated with settlers on the Logan and Albert rivers before being removed to the mission late in life. The photographer is unidentified and the image was made within the institution that held him.
  81. - Fanny Smith in Hobart. Fanny Cochrane Smith photographed in Hobart while recording Tasmanian Aboriginal song and speech, held by the State Library of New South Wales. She was born at Wybalenna on Flinders Island, the settlement to which Palawa survivors were removed, and was granted land at Nicholls Rivulet where she raised eleven children.
  82. - Family music on a station verandah. A family making music on the verandah at Spring Creek Station around 1900. Domestic music making was the ordinary form before recording.
  83. - Banjo outside a tent. A group outside a tent with a banjo around 1900. Portable instruments travelled with shearers, diggers and drovers.
  84. - Swearing in at the Federation Pavilion. The pavilion in Centennial Park, Sydney, during the swearing in of the first Commonwealth government on 1 January 1901. The parliament formed that year passed the Immigration Restriction Act and the Pacific Island Labourers Act within its first six months. Both were among the earliest statutes of the new nation.
  85. - The Federation Pavilion, second view. A closer view of the temporary domed pavilion built in Centennial Park for the inauguration ceremony of 1 January 1901. Around a hundred thousand people watched the procession through Sydney. The pavilion was later rebuilt in permanent form on the same spot.
  86. - Crowd at the inauguration ceremony. Spectators around the Centennial Park pavilion on the day the Commonwealth of Australia came into being. The government sworn in that morning made restriction of non European immigration one of its first legislative priorities. Photograph held by the National Library of Australia.
  87. - Programme for a Melba Australian tour. A programme cover for a Melba Australian concert tour. Her tours were national events and she used them to raise funds during the First World War.
  88. - Friendly societies band, Barcaldine. The United Friendly Societies brass band at Barcaldine in Queensland in 1902. Friendly societies and unions maintained bands as part of their social provision.
  89. - Wirth's Circus performer. A performer with a trained lion at Wirth's Circus in 1903. Wirth's toured Australia and abroad for nearly a century and was one of the largest circuses in the southern hemisphere.
  90. - The first judges of the High Court. Portraits of Edmund Barton, Chief Justice Samuel Griffith and Richard O'Connor, appointed to the newly created High Court in 1903. The court heard challenges to the operation of the dictation test, including cases on whether an officer could set a test in a language the traveller could not possibly know. It held that the discretion was almost unreviewable.
  91. - Fanny Cochrane Smith records her songs. Fanny Cochrane Smith singing into a phonograph horn for Horace Watson in 1903, photographed by Albert Archer Rollings. The wax cylinders she recorded are the only known sound recordings of Tasmanian Aboriginal song. Her life is also the plain refutation of the extinction story printed about Truganini and Lanne.
  92. - Melba with her father at Lilydale. Melba with her father David Mitchell at Lilydale in Victoria in 1903. Mitchell was a Melbourne building contractor who worked on the Exhibition Building.
  93. - Ballarat City brass band. The Ballarat City brass band in 1904. Ballarat's South Street competitions became the major national contest for bands and choirs.
  94. - Killalpaninna Mission, Lake Killalpaninna. The Lutheran mission at Lake Killalpaninna in the far north east of South Australia, showing the church and windmill around 1905. The missionaries called the station Hermannsburg, a name that predates the better known Hermannsburg later founded in the Northern Territory. The photograph was made by the State Government Photographer as an official record.
  95. - Queenstown brass band. The Queenstown brass band in western Tasmania in 1905, in a copper mining town cut off by mountains from the rest of the state.
  96. - Choir at the Ipswich eisteddfod. A Bundaberg choir competing at the Ipswich eisteddfod in 1905. The Welsh derived eisteddfod became a standard fixture of Australian country music life.
  97. - Bush band at Mount Surprise. A bush band at Mount Surprise in north Queensland around 1905. The bush band repertoire of dance tunes and ballads was revived commercially in the 1970s.
  98. - Piano showroom, Rundle Street. A piano showroom in Rundle Street at Adelaide around 1905. The piano was the standard middle class Australian instrument and the trade that supplied them was substantial.
  99. - Frame from the 1906 Kelly Gang film. A surviving frame from the 1906 Ned Kelly production. The National Film and Sound Archive and UNESCO, which added it to the Memory of the World Register in 2007, describe it as the world's first narrative feature, a claim that rests on counting a feature as a story film over about an hour and setting aside the longer 1897 Corbett Fitzsimmons prize fight recording.
  100. - A shearer travelling by bicycle. A shearer photographed around 1906 with his swag lashed to a bicycle, from the State Library of Queensland collection. Shearers moved between sheds along established circuits as each station's clip came due, and the bicycle replaced walking for many of them after the 1890s. The photographer is not recorded.
  101. - The capture scene, 1906. The capture of Ned Kelly as staged in the 1906 film. Of an original reel length of roughly 1,200 metres, about seventeen minutes survives in fragments recovered from several countries.
  102. - Dan Kelly in the 1906 film. Dan Kelly in the 1906 production, made by the Tait brothers in Melbourne. It premiered at the Athenaeum Hall in Melbourne on 26 December 1906.
  103. - The Story of the Kelly Gang(1906 silent film)Public Domain Media. 's Public Domain Media Archive. UNESCO inscribed The Story of the Kelly Gang on the Memory of the World Register in 2007 as the world's first full-length narrative feature film. Lucas's Public Domain Media Archive.
  104. - The 1906 Western Lands Board plan. A. W. Mullens surveyed and drew the trap system in 1906 for the New South Wales Western Lands Board. Surveys like this were made as the state moved to regulate the river, and the plan later became evidence for the heritage listing. It survives in the conservation management plan compiled by Hope and Vines in 1994.
  105. - World's first feature film, The Story of the Kelly Gang (1906) - Ned is captured. 2007 as the world's first full-length narrative feature film. About 17 minutes survive. from footage of 1906 held by NFSA Online.
  106. - Kate Kelly in the 1906 film. Kate Kelly as shown in the 1906 film. The production was shot around Melbourne only twenty six years after Kelly was hanged, within living memory of the events.
  107. - The Story of the Kelly Gang (1906) | World’s First Feature Film | Silent Crime Drama Full Movie. The Story of the Kelly Gang (1906), published by Classic Movies Archive. UNESCO inscribed The Story of the Kelly Gang on the Memory of the World Register in 2007 as the world's first full-length narrative feature film. About 17 minutes survive. from footage of 1906 held by Classic Movies Archive.
  108. - Paterson with his family. Paterson with his wife Alice and daughter Grace in the early twentieth century. He married Alice Walker at Tenterfield in 1903.
  109. - Mathews maps the Ngunnhu. R. H. Mathews drew this plan of the Ngunnhu, the stone fish traps in the river at Brewarrina, for his notes on Aboriginal people of New South Wales. The drawing shows individual pens and the channels that funnel fish between them. It is one of the earliest technical records of the layout.
  110. - Deakin addresses the Pilgrims Club in London. A magazine illustration of the Australian prime minister speaking at Claridge's Hotel during the 1907 Imperial Conference, with the prime ministers of the other dominions seated around him. Britain repeatedly pressed the dominions to soften racial exclusion because of its treaty obligations to Japan. The dictation test was the device that let Australia exclude by race without saying so on the face of the statute.
  111. - Brass band in Toowoomba. A brass band in Ruthven Street at Toowoomba around 1907. Street playing was how bands were heard by people who never bought a ticket.
  112. - The guard tower in 1907. The round guard tower photographed thirty years after the settlement closed. By then the site had been renamed Carnarvon in an attempt to shed the association, and locals were selling relics to visitors. The convict name was restored in the twentieth century when the history became the attraction.
  113. - Lawson drawn by Will Dyson. Will Dyson's 1908 drawing of Henry Lawson. Lawson was deaf from adolescence and his hearing loss shaped both his isolation and his ear for reported speech.
  114. - Edward Dyson. The poet and short story writer Edward Dyson in 1908. He wrote about mining and factory work, subjects the bush school largely left out.
  115. - Advertisement in the Bulletin, 1909. An advertisement from the Bulletin of 8 April 1909. The magazine, founded in 1880, published Lawson and Paterson and carried the masthead slogan Australia for the White Man until 1961.
  116. - It Will Sink Them, a Marquet cartoon. Claude Marquet drew Alfred Deakin as the head of a camel carrying John Forrest and Joseph Cook as its humps, weighed down by the Dreadnought affair, to mark the 1909 fusion that created the Commonwealth Liberal Party. Marquet drew for the labour press, which supported exclusion as fiercely as the conservatives did. Party lines shifted repeatedly in the decade after Federation but the immigration policy did not.
  117. - Detail from It Will Sink Them. A detail of Marquet's 1909 cartoon showing the placards it hangs on the figures, among them the dreadnought disgrace and that risky majority. Cartooning was a principal political medium in Australia before radio. The Worker and the Bulletin both campaigned in favour of a white Australia.
  118. - The Fremantle prison printery. Prisoners at work in the printing shop, photographed by Beste and Jaggs in August 1909. Convicts had built the prison itself in the 1850s out of limestone quarried on the site. It remained in use as a maximum security prison until 1991.
  119. - Federal Hotel, Childers. A two storey timber hotel in Childers, Queensland, its upper verandah running the full width of the street front behind turned posts and cast iron balustrade. William Ashby built it in 1907 for £1,250, a figure that covered an eight stall stable and a billiard room, and his family held it until 1967. The double verandah is the standard Queensland answer to heat and glare, shading the wall below and giving the upstairs rooms an outdoor edge.
  120. - Banjo Paterson. Andrew Barton Paterson, known as Banjo. He worked as a solicitor and a war correspondent as well as writing The Man from Snowy River and Waltzing Matilda.
  121. - Boulder City brass band. The Boulder City brass band on the Western Australian goldfields in 1910. Mining towns supported bands out of company and union funds.
  122. - The Helpmann family at Mount Gambier. 1911. Robert Helpmann grew up there and became a dancer, actor and choreographer with the Sadler's Wells and later the Australian Ballet.
  123. - Joseph Furphy. 1903, it is a difficult and admired novel that sold almost nothing in his lifetime.
  124. - St Augustine's orphanage band. The brass band of St Augustine's orphanage at Geelong in 1911. Institutions taught band music as training and as discipline.
  125. - Lyric Orchestra, Mount Morgan. The Lyric Orchestra at Mount Morgan in Queensland in 1912. Mining towns built musical institutions as quickly as they built hotels.
  126. - Clermont Orchestra. Members of the Clermont Orchestra in 1913. Amateur orchestras filled the gap before broadcasting brought professional players to country audiences.
  127. - Australia at War 1914–1918 | Rare WWI Footage from Gallipoli to the Western Front. Australia at War 1914, 1918, published by NFSA Film Australia. Australian deaths at Gallipoli numbered 8,709, and the landing took place on 25 April 1915. The footage depicts events of 1914. Filed as a war and commemoration record, from footage of 1914 held by NFSA Film Australia.
  128. - A Lawson poem in print. A Lawson poem as it appeared in print in 1914. Newspapers and magazines, not books, were how most Australians met poetry.
  129. - Melba with John Lemmone. Melba with the flautist John Lemmone, who managed several of her Australian tours. Lemmone was born at Ballarat to Greek parents.
  130. - Family ensemble at Mount Morgan. The Foster family playing at Mount Morgan around 1914. Family ensembles were common where there was no other entertainment.
  131. - The 11th Battalion on the Great Pyramid. Men of the 11th Battalion, raised in Western Australia, arranged across the stones of the Great Pyramid at Giza on 10 January 1915. They trained in Egypt through the northern winter and were among the first ashore at Anzac Cove on 25 April. In the five days after the landing the battalion took 378 casualties, more than a third of its strength.
  132. - Training at Morphettville Racecourse. Soldiers drilling on a racecourse outside Adelaide, most likely the 10th Battalion raised in South Australia after the outbreak of war. Camps like this stood up an army from nothing in a matter of months. The 10th landed at Anzac Cove in the first wave.
  133. - Commanders at Mena Camp, Egypt. Major General William Bridges, commander of the Australian forces in Egypt, with Sir John Maxwell, General Birdwood and Sir George Reid at the camp below the pyramids. Birdwood commanded the Australian and New Zealand Army Corps at Gallipoli. Bridges was shot by a sniper in Monash Valley in May 1915 and died of the wound.
  134. - The plan for the landing. A map of the intended landing of the 2nd and 3rd Brigades of the Australian 1st Division north of Gaba Tepe, with the first day objectives marked. The force came ashore about a mile north of this, under cliffs the plan had not accounted for. The gap between this map and what happened defines the whole campaign.
  135. - Where the covering force actually landed. A map showing the paths of the first wave and where the 3rd Brigade came ashore on 25 April 1915. The boats grounded against steep broken ground rather than the open slope intended. Units were mixed together within minutes of landing and never fully sorted out that day.
  136. - Shearers at work in the shed. Men bent over sheep on the board of a shearing hut, probably at Roseworthy Agricultural College in South Australia. The State Government Photographer's microfiche titled this image Shears at Work, which cataloguer G. Brooks corrected to Shearers. Machine handpieces had largely replaced blade shears in South Australian sheds by this date.
  137. - Leane's annotated landing map. The Gallipoli map carried ashore by Captain Raymond Leane of the 11th Battalion, marked up with Turkish defences and now very fragile. Leane landed north of Ari Burnu at 4.55 am and later fought around Pope's Hill and Courtney's Post. He used the same map on a raid towards Gaba Tepe on 4 May.
  138. - Newly shorn rams outside the shed. Rams stand in the yard immediately after shearing, their skin still marked by the comb. The image comes from the State Government Photographer's collection in South Australia and reached the archive with part of its caption already lost.
  139. - Ottoman Fifth Army dispositions. A map of how the Turkish Fifth Army was positioned before the April landings. The defenders were fewer than the attacking force but held the high ground and had prepared for months. Allied planning had assumed weaker resistance than it met.
  140. - Coming ashore at Anzac Cove. Troops land on the morning of 25 April 1915, with horse boats in the foreground putting mules ashore for Jacob's 26th Indian Mountain Battery. The cruiser HMS Bacchante is heading in behind them. The beach was under fire from the ridges from first light.
  141. - Wool bales stacked at Port Adelaide. Bales packed and stacked inside the Elders woolstores at Port Adelaide, waiting for a ship. Port Adelaide was the outlet for the South Australian clip, which travelled down by rail from the pastoral districts and was sold or consigned through the stores on the wharf.
  142. - HMS Scourge tows the boats in. The destroyer Scourge pulls a string of open boats towards the shore. Infantry transferred into the boats about 200 yards out and rowed the last stretch themselves. Men were shot in the boats before reaching the sand.
  143. - Sunrise over Chunuk Bair. Boats of the 6th and 7th Battalions pull away from the transports as the sun comes up behind the ridge. Chunuk Bair, the high ground on the skyline, was a first day objective that was never held. The photograph is held by the Australian War Memorial.
  144. - Anzac Beach at eight in the morning. Men of the 4th Battalion and the Indian Mountain Battery come ashore three hours into the landing, with 1st Brigade staff in the foreground. By this hour the beach was already a supply dump and a casualty collecting point. The cove is only a few hundred metres long.
  145. - Arrivals at half past ten. Troops landing at Anzac Beach at 10.30 am on the first day. The narrowness of the foothold is visible: everything landed had to be stacked between the water and the cliff. The image is Australian War Memorial number A00834.
  146. - Waiting below Plugge's Plateau. Soldiers of the 1st Battalion of the Australian Imperial Force sit at the southern edge below Plugge's Plateau, waiting to be told where to go. Confusion about position and objective ran through the whole of 25 April. Many units spent the day fighting alongside strangers.
  147. - Henry Lawson. 1915. He wrote The Drover's Wife and While the Billy Boils, argued in the Bulletin with Banjo Paterson over whether the bush was romantic or brutal, and died in poverty in Sydney in 1922.
  148. - Crossing Plugge's Plateau. Men moving across the plateau above the cove after the landing. The ground rises steeply straight off the beach into a maze of gullies and spurs. Australian War Memorial number G00907.
  149. - Artillery lands at Gaba Tepe. Gunners of the 5th Battery, 3rd Field Artillery Brigade come ashore beside one of their 18 pounder guns. Getting artillery onto the position and finding anywhere to site it was a persistent problem given the terrain. The photograph is Australian War Memorial number P00046.026.
  150. - Angus and Robertson in 1915. The Angus and Robertson bookshop in 1915. The firm published Lawson, Paterson and most of the Australian canon of the period, and its Sydney shop was the trade's centre.
  151. - Manhandling guns up the slope. Artillerymen haul guns into position the day after the landing. There were no roads and no draught animals to spare, so the work was done by hand on gradients that made it barely possible. Australian War Memorial number G00918.
  152. - First dressing station in Monash Gully. The 7th Battalion's first field dressing station on 25 April was a natural hole in the ground in Monash Gully. Many of the earliest wounded were brought here. Australian War Memorial number H15233.
  153. - The ground above Quinn's Post. Harold Arthur Barker photographed the position covering Quinn's Post and the tangle of trenches known as the Chessboard on the first day. Quinn's was the most exposed point in the Anzac line, with the opposing trenches metres apart. Holding it was the difference between a foothold and a collapse.
  154. - Tending the wounded on the shore. A view of Anzac Cove shortly after the landing, with wounded Australians being treated on the sand. Casualty evacuation ran back down the same paths that supplies came up. The beach was within range of Turkish artillery for the entire campaign.
  155. - The encampment at Anzac Cove. New Zealand soldiers' tents and dugouts packed into the slope above the beach. Men lived in cut holes in the hillside for eight months. The whole Anzac position was never more than a few hundred acres.
  156. - Bridges at his first headquarters. C. E. W. Bean photographed lunch at General Bridges' first headquarters on 3 May 1915, with Gellibrand, Howse, Blamey and White among those present. The position was exposed to shrapnel and Gellibrand was wounded there. Bridges himself was mortally wounded twelve days later.
  157. - In the front line trench. Australian soldiers in the trenches at Anzac Cove. Trench lines here were dug into crumbling soil on slopes too steep for conventional field engineering. The photograph is held by the State Library of Victoria.
  158. - The periscope rifle, October 1915. A rifle rigged with mirrors so it could be fired over the parapet without exposing the shooter, photographed on 11 October 1915. The inscription on the back carries the initials of Joseph Cecil Thompson, presumed to be the photographer. The device was developed at Anzac by Lance Corporal William Beech and copied along the line.
  159. - Firing blind over the parapet. Men working a periscope rifle in a Gallipoli trench in 1915, from the Alexander Turnbull Library collection. Opposing trenches at points like Quinn's Post were close enough that raising a head meant being shot. The invention was a direct response to that geometry.
  160. - Bombproofs at Quinn's Post. New Zealand soldiers building bombproof shelters, with Dead Man's Ridge on the left skyline and a chute for removing spoil from the mine workings in the foreground. Both sides tunnelled under each other's positions here and detonated charges. Dead Man's Ridge was fought over repeatedly without changing hands.
  161. - Plan of the trenches at Quinn’s Post. Sapper Ronald McInnis drew this plan of Quinn's Post as it stood in November and December 1915, showing every trench, sap and tunnel. It also marks the sleeping terraces set up by Lieutenant Colonel William Malone of the Wellington Battalion. Quinn's was the most advanced post in the Anzac line and its loss would have opened the whole position.
  162. - The armistice of 24 May 1915. Dead Australian and Turkish soldiers in a trench, probably at Quinn's Post or the Nek, photographed during the armistice of 24 May 1915. Both sides agreed to a pause to bury the dead lying between the lines after the failed Turkish attack of 19 May. The glass stereograph is held by the State Library of New South Wales.
  163. - Clara Serena. The contralto Clara Serena, born in South Australia. Australian singers of her generation had to work in Britain to build a career.
  164. - Inside a captured trench at Lone Pine. C. E. W. Bean photographed Australians of the 2nd and 3rd Battalions in a Turkish trench taken during the Battle of Lone Pine on 10 August 1915. The trench is roofed with pine logs against shrapnel and grenades, which meant the attackers had to break in through the roof. Bean was the official correspondent and later wrote the official history.
  165. - The 1st Brigade at Lone Pine. Infantry of the Australian 1st Brigade in a captured Turkish trench on 6 August 1915, with men of the 7th Battalion also present. Lone Pine was launched as a diversion for the August offensive against the Sari Bair range. Seven Victoria Crosses were awarded for the three days of fighting there.
  166. - After the battle at Lone Pine. Australian and Turkish dead lie on the parapet of a trench at Lone Pine. Captain Leslie Morshead of the 2nd Battalion stands in the foreground with Private James Bryant of the 8th Battalion at his right. Morshead commanded at Tobruk in the next war; Bryant won the Military Medal in 1918 and survived three years as a prisoner in the second.
  167. - Trench plan of Lone Pine. A plan of the Lone Pine trenches in late August 1915 and their connection to the position known as the Pimple, with the Australian lines drawn in. Underground saps were pushed out towards the Turkish line before the assault. Reading the plan shows how little ground the attack actually took.
  168. - Captain Alfred Shout. Born in Wellington in 1881, Shout paid his own way to South Africa to fight in the Boer War before settling in Sydney. He was awarded the Victoria Cross for bombing his way along a Turkish trench at Lone Pine in August 1915 and was fatally wounded doing it. His was one of seven Victoria Crosses given for Lone Pine.
  169. - Simpson and his donkey. John Simpson Kirkpatrick was a stretcher bearer who landed on 25 April 1915, found a donkey, and spent three and a half weeks carrying wounded men down to the beach under fire. He was killed on 19 May 1915, aged 23. He had enlisted partly in the hope of being sent back to England, where he was born.
  170. - Kitchener visits Russell's Top. Lord Kitchener with General Birdwood at Russell's Top during his inspection of the Anzac position in November 1915. Kitchener came to judge whether the campaign could continue. The decision to evacuate followed within weeks.
  171. - Cornwallis fires over Suvla. The Royal Navy battleship HMS Cornwallis fires a broadside during the evacuation of Suvla in December 1915. She was the last Allied ship to leave the bay. Naval gunfire covered the withdrawal that the landing had been meant to support.
  172. - The evacuation, December 1915. More than 100,000 men were taken off Anzac Cove and Suvla Bay between 15 and 20 December 1915, with the last troops leaving Helles on 9 January 1916. The withdrawal was the best executed operation of the campaign and cost almost no casualties. The dead stayed: Australian deaths at Gallipoli numbered 8,709, alongside 2,721 New Zealanders and, by this account, 87,000 Turks and 44,000 British and French.
  173. - A cartoonist marks the evacuation. Hal Eyre's caricature shows an Ottoman soldier finding the Anzac position empty, captioned as an advertisement: delightful summer residence, sea views. Australian newspapers turned the successful withdrawal into a joke at Turkish expense. The campaign it ended had failed at every objective.
  174. - A charge near a Turkish trench. An American archival print captioned as Australian troops charging a Turkish trench shortly before the evacuation. Photographs from Gallipoli circulated with captions applied long after the fact, and many attributions are uncertain. This one is held by the United States National Archives.
  175. - The first wounded reach Mena House. Medical officers of No. 2 Australian General Hospital, established in the Mena House hotel in Egypt, photographed with the first group of wounded back from Gallipoli in May 1915. Names written on the print identify Springthorpe, Barton, Martin and others. The casualty flow from the landing overwhelmed the arrangements made for it.
  176. - Swimming off the beach. Soldiers in the water after coming down from the trenches. Swimming at Anzac was one of the few reliefs available and was done under intermittent shellfire. Several men were killed while bathing.
  177. - The River Clyde runs ashore. The converted collier River Clyde approaches V Beach at Cape Helles on 25 April 1915, cut with sally ports so men could run out along lighters. The British landings at Helles happened the same morning as the Anzac landing further north. Casualties at V Beach were severe enough that the water was reported discoloured.
  178. - V Beach seen from the River Clyde. A watercolour of V Beach and the fort at Sedd el Bahr, drawn from the deck of the beached collier on 25 April 1915. The work is held by the Royal Museums Greenwich. It shows the ground the British 29th Division had to cross under fire from the fort.
  179. - A French gun at Gallipoli. A French 240 millimetre fortress gun firing towards the Asiatic shore of the Dardanelles. France committed a full division to the Helles sector. The campaign is remembered in Australia as an Australian event, and was in fact a multinational operation in which Australians were a minority.
  180. - Resting on Suvla Plain, August 1915. Soldiers rest during the advance across the Suvla Plain at four in the afternoon on 21 August 1915. The Suvla landings of August were meant to break the deadlock and did not. It was the last major Allied attempt on the peninsula.
  181. - The Premiers Conference of 1916. State premiers, attorneys general and parliamentary officers assembled at Adelaide in May 1916, photographed for the record. Immigration remained a Commonwealth power but the states set the conditions of labour that the exclusion policy was framed to protect. The conference met in the middle of the First World War.
  182. - Turkish prisoners at Maadi station. Ottoman prisoners taken during the Gallipoli campaign, photographed at Maadi railway station outside Cairo during transfer. Prisoners went back down the same route as the wounded. The image is held by the State Library of Queensland.
  183. - Robinson maps the battlefield, 1916. A topographic map published by H. E. C. Robinson in 1916 marking Anzac and Turkish posts, trenches, tracks and the approximate landing places. It covers the ground from north of Bauchop's Hill to Wine Glass Ridge. Commercial maps like this let people at home follow a campaign that had already ended.
  184. - The Turkish survey of the Anzac area. One of 43 sheets surveyed by the Turkish Mapping Directorate under Brigadier General Mehmet Sevki Pasa after the evacuation. The Ottoman army mapped in detail the ground it had just successfully defended. These sheets are among the most accurate records of the trench systems.
  185. - A J.C. Williamson production. Performers in a J.C. Williamson production. The firm imported New York and London shows and cast them locally.
  186. - The Songs of a Sentimental Bloke. 1915, it sold in tens of thousands and was filmed in 1918.
  187. - Filming The Sentimental Bloke. Arthur Tauchert, Gilbert Emery and Lottie Lyell during production of The Sentimental Bloke in 1918. Lyell wrote, edited and performed, and is regarded as one of the first women in the world to work across those roles in film.
  188. - Allies Theatre, Bowen. The Allies Theatre inside the School of Arts building at Bowen in 1918. Many country screenings happened in halls built for something else.
  189. - Mackellar in 1918. Dorothea Mackellar photographed in 1918. Her poem My Country was published as Core of My Heart before it acquired its familiar title.
  190. - George Clutsam. The composer and pianist George Clutsam, born in Sydney in 1866. He worked mainly in London, writing for the musical stage.
  191. - Ruins in the Weekly Times, 1919. A newspaper feature of 27 December 1919 headed Ruins Of The Old Penal Settlement At Port Arthur. Convict ancestry was a source of shame for generations, and the ruins were read as a scandal rather than a heritage. The reversal in that attitude took most of the following century.
  192. - Collecting bones on Hill 60, 1919. Local Greek boys stand beside human remains they have gathered on Hill 60 above Anzac Cove, four years after the fighting. W. J. Brunell made the photograph in 1919. Graves registration units worked over the peninsula for years afterwards, and many of the dead were never identified.
  193. - Holidaymakers at Sandgate. A crowd fills the water and sand at Sandgate on Moreton Bay in the 1920s, the women in sunhats and carrying umbrellas, a motorcar parked on the beach itself. Daylight sea bathing had been illegal in New South Wales until 1903 and the beach holiday was still a recent freedom. The postcard was printed in Saxony for the White's Views of Queensland series.
  194. - Newcastle surf carnival, 1920. 1920. Filed as a surf lifesaving record, from footage of 1920 held by NFSA Film Australia.
  195. - Soldiers entering the Cambria cinema. 1920, in the years just after the First World War.
  196. - Palace Theatre, Hobart. The Palace Theatre on Elizabeth Street in Hobart around 1920. Tasmania's exhibition circuit was small but continuous from the silent era.
  197. - Myrtle Rose White. 's accounts of station life form a substantial Australian nonfiction strand.
  198. - Sandgate Amateur Opera Company. The Sandgate Amateur Opera Company near Brisbane in 1920. Amateur operatic societies staged Gilbert and Sullivan across suburban Australia for most of a century.
  199. - Lambert paints the covering force. George Washington Lambert painted the 3rd Infantry Brigade climbing the seaward slope of Plugge's Plateau between 1920 and 1922, working from the ground itself after the war. The yellow pinnacle is The Sphinx, with Walker's Ridge beyond leading to Russell's Top. Each man carries a white bag holding the two days of rations issued specially for the landing.
  200. - Anguilla australis, the short-finned eel. A scientific illustration of the short-finned eel published in 1921 by Edgar Ravenswood Waite. Gunditjmara people call the fish kooyang. It spawns in the Coral Sea and the young travel thousands of kilometres to reach the rivers and wetlands of south eastern Australia.
  201. - Star Picture Theatre in flood, Winton. The Star Picture Theatre at Winton under floodwater in 1921. Winton is also where Banjo Paterson's Waltzing Matilda was first performed.
  202. - Norman Lindsay. 1921. He wrote and illustrated The Magic Pudding in 1918 and was better known as a painter and etcher whose work was repeatedly censored.
  203. - Lindsay cartoon in the Bulletin. A Norman Lindsay cartoon in the Bulletin of 27 October 1921. Lindsay drew for the magazine for half a century.
  204. - Nellie Melba in 1921. Melba photographed in 1921. She helped found what became the Melba Memorial Conservatorium in Melbourne and died in Sydney in 1931.
  205. - Anzac Day procession behind a band. An Anzac Day procession behind a brass band at Caboolture in 1921. Commemoration and band music were bound together from the first Anzac Days.
  206. - Bicycles outside a Cairns picture theatre. Bicycles piled outside a picture theatre in Cairns. In tropical Queensland many theatres were open air, with canvas roofs and deck chairs.
  207. - Henry Lawson's funeral. 1922. He was given a state funeral, having spent his last years in poverty and repeatedly imprisoned for debt and drunkenness.
  208. - Eleanor Dark. 1922. Her novel The Timeless Land of 1941 told the first years of the colony from both British and Aboriginal viewpoints, unusually for its date.
  209. - Wool wagon bogged at a river crossing. A horse team strains at a wagon loaded with wool bales stuck in a dusty river crossing on 15 September 1923. The photograph is from the Transport and Main Roads Visual Resource Library held by Queensland State Archives. Getting the clip to a railhead over unformed roads was the recurring hazard of the inland wool trade.
  210. - Frank Hurley filming on location. 1920s. His documentary work moved between Antarctic expedition, the Western Front and the Pacific.
  211. - Star Picture Theatre, Winton. The Star Picture Theatre at Winton in 1924. The open air Royal Theatre in the same town still runs with canvas seats.
  212. - Construction and Opening of the Sydney Harbour Bridge (1926-1932, Colourised, HD). ), published by Based in Australia Archive and concerning New South Wales. The Sydney Harbour Bridge opened in 1932. The footage depicts events of 1926. Filed as a vernacular record, from footage of 1926 held by Based in Australia Archive.
  213. - Palace Theatre, Cairns. Movie posters on the Palace Theatre at Cairns in 1927, decorated for a fancy dress ball. Regional theatres doubled as dance halls and meeting rooms.
  214. - Dorothea Mackellar. 1927. She wrote the poem beginning I love a sunburnt country in 1904 while homesick in England, and it became the most quoted verse in Australia.
  215. - Wool bales loaded on a rail truck. Bales roped down on an open rail truck at Port Adelaide. Cataloguer G. Brooks corrected the original microfiche description, which called the wagon a railway carriage. Rail carried the clip from inland sidings to the port stores, displacing the bullock and horse teams that had done the work in the previous century.
  216. - Cadets marching to a Sydney cinema. Naval League cadets marching to the Hoyts De Luxe on George Street in Sydney for an Anzac commemoration screening. Cinema going was organised as a civic event as much as a private one.
  217. - The Lyceum Theatre at night. The Lyceum Theatre in Sydney lit at night in late 1928. Electric display fronts were how city cinemas competed before television.
  218. - Ethel Turner. 1928. Her Seven Little Australians of 1894 is among the few nineteenth century Australian children's books never to have gone out of print.
  219. - Tivoli variety act. A Tivoli variety act posed for the camera in 1929. Vaudeville held Australian audiences until television arrived in 1956.
  220. - Opening night of the State Theatre. The opening night of the State Theatre in Sydney in 1929, with the Australian premiere of The Patriot. The State was built as a picture palace in an elaborate mixed revival style and now hosts the Sydney Film Festival.
  221. - Hoyts ushers on the footpath. Hoyts ushers lined up on the footpath, photographed by Sam Hood. Hoyts and Union Theatres between them controlled Australian exhibition and therefore what local films could be screened.
  222. - Beach Picture Theatre, Sandgate. The Beach Picture Theatre at Sandgate near Brisbane in 1929. Seaside suburbs supported their own picture houses.
  223. - Wonderview Theatre, Victor Harbor. The Wonderview Theatre at Victor Harbor in South Australia in 1929. Holiday towns built cinemas to hold the summer trade.
  224. - Ticket queue at Her Majesty's Theatre. A queue for tickets at Her Majesty's Theatre in Sydney around 1930. The building was later demolished and the site now carries Sydney Tower.
  225. - Queuing for theatre tickets. Another view of the ticket queue at Her Majesty's Theatre. Booking meant standing at the window before telephone and postal booking became common.
  226. - Empire Theatre auditorium. The auditorium and proscenium of the Empire Theatre on Quay Street in Sydney in 1930. Australian city theatres of this generation seated well over a thousand.
  227. - Tivoli performers arriving. 1930. The circuit imported acts from Britain and the United States alongside local performers.
  228. - A sheep and lamb at the Sydney show. A studio-style portrait of a ewe and her lamb, probably taken at the Royal Agricultural Show in Sydney. It comes from the William J Hall collection at the Australian National Maritime Museum. Show judging set the visible standard for fleece that stud breeders then sold on.
  229. - John Quick in old age. The Bendigo lawyer and federationist photographed around 1930. Quick drafted the enabling bill that produced the elected convention of 1897, and he served as Postmaster General in Deakin's second ministry. His annotated commentary on the Constitution remained a standard reference for decades.
  230. - Isaac Isaacs in his chambers. The judge reading in his office around 1930, photographed for the Fairfax papers. Isaacs sat on the High Court from 1906 and became Chief Justice in 1930, ruling on cases arising from the immigration restriction legislation he had helped debate as a member of the first parliament. He was the son of a Jewish tailor from Poland.
  231. - Isaac Isaacs as Chief Justice. A portrait of Isaacs made in 1930, the year he was appointed Chief Justice of Australia. Months later he became the first Australian born Governor General, over the objection of King George V. His career ran alongside the whole first generation of the restriction laws.
  232. - Plaza Theatre, Tully. The Plaza Theatre at Tully in far north Queensland in 1930. Sugar towns of a few thousand people supported purpose built cinemas.
  233. - Picture theatre managers conference. A picture theatre managers conference and dinner in 1930. Exhibition was an organised industry with its own associations and trade press.
  234. - Wondergraph at Semaphore. The Wondergraph on the Semaphore Esplanade in South Australia in 1930. Wondergraph was an early Australian exhibition brand.
  235. - Paterson in 1930. Banjo Paterson in 1930. His verse sold in numbers no Australian poet had reached before, and The Man from Snowy River collection went through repeated editions.
  236. - Sydney Conservatorium of Music. The Sydney Conservatorium of Music in 1930. The building began as the government stables for Government House and was converted for teaching in 1915.
  237. - Dancers on pointe, 1931. A line of dancers on pointe in 1931. Ballet schools spread through Australian cities well before there was a national company to join.
  238. - Sound booth and Movietone poster. A studio sound man behind glass with a Fox Movietone News poster in 1931. Sound arrived in Australian cinemas around 1929 and closed most of the local silent production that remained.
  239. - Programme for a 1931 touring attraction. A programme cover for a 1931 touring musical attraction. Live touring collapsed during the Depression and was reshaped by radio.
  240. - Filming a race for Cinesound. A daytime race filmed for Cinesound at the Wentworth Autodrome in November 1933. Newsreel work paid for the studio between features.
  241. - Rajo Ford Special filmed for Cinesound. A Rajo Ford Special at speed, filmed for Cinesound at the Wentworth Autodrome in 1933. Motor racing was a staple of the Australian newsreel.
  242. - Page from Darlinghurst Nights. A page from Darlinghurst Nights, Kenneth Slessor's verse with drawings by Virgil Reilly, published in 1933. Slessor wrote Five Bells about a friend who drowned in Sydney Harbour.
  243. - Santa surfs the Queenslander cover. McBain's Christmas cover for The Queenslander of 20 December 1934 puts Santa Claus and a reindeer on the face of a wave. Summer Christmas had to be drawn from scratch, since none of the imported imagery fitted. The surf did a lot of that work.
  244. - White Horse Inn at the Theatre Royal. 1934. Operetta filled the Australian commercial stage between the wars.
  245. - Theatre Royal foyer crowd. A crowd in evening dress in the Theatre Royal foyer in 1934. Dressing for the theatre was expected in the city houses.
  246. - Goldsborough Mort wool store, Port Adelaide. The interior ceiling of the Goldsborough Mort and Company wool store at Port Adelaide, lined in jointed pine. Goldsborough Mort was one of the large stock and station agencies that financed pastoralists against the coming clip and then sold it for them. The archival note corrects the microfiche, which had called the building a wool shed rather than a store.
  247. - Sir Isaac and Lady Isaacs. Sam Hood photographed the Governor General and his wife Daisy around 1934, from a glass negative now held by the State Library of New South Wales. Isaacs held the office from 1931 to 1936. The appointment of an Australian rather than a British aristocrat was itself a nationalist assertion of the era that produced the restriction laws.
  248. - Hollywood Picture Theatre, Greenslopes. The Hollywood Picture Theatre at Greenslopes in Brisbane around 1934. The name states plainly where most of the programme came from.
  249. - Winifred Burston. The pianist Winifred Burston around 1934. She taught at the Sydney Conservatorium and her students included several who went on to international careers.
  250. - March past at Burleigh Heads. Surf lifesavers parade in formation at Burleigh Heads, the front team in the striped costumes of the Burleigh Heads Mowbray Park club. The march past was a competitive event, judged on drill precision with the reel carried at the front. It made a volunteer rescue service into a spectator sport.
  251. - J.C. Williamson at the Theatre Royal. A J.C. Williamson production at the Theatre Royal in Sydney in 1935. The firm, known simply as The Firm, dominated commercial theatre in Australia and New Zealand from the 1880s.
  252. - A Williamson staging. Another J.C. Williamson staging at the Theatre Royal. The company controlled theatres, touring routes and star contracts across both countries.
  253. - Bullock teams hauling wool. Bullocks in a long chain drag wagons loaded with wool bales, photographed by Hall and Co. around 1935 and held as a glass negative by the State Library of New South Wales. Teams like this were still working stock routes in the 1930s, decades after rail had taken over the main hauls.
  254. - Wertaloona shearing shed, Flinders Ranges. Sheep penned in enclosures outside the Wertaloona shearing shed in the Flinders Ranges, with men working on foot and on horseback. Wertaloona was one of the pastoral runs in the arid country north of the ranges in South Australia.
  255. - Chorus at the Theatre Royal. Chorus performers in Nice Goings On at the Theatre Royal in 1935. Large chorus lines were standard in the commercial musical houses.
  256. - Moodie at the Sydney Royal Easter Show. A sheep recorded only by the name Moodie, photographed at the Sydney Royal Easter Show by William Hall. The print is held in the Australian National Maritime Museum's Hall collection. Prize animals at the Royal were named and their winnings followed in the rural press.
  257. - Shooting Grandad Rudd. Shooting a scene for Grandad Rudd in Sydney around 1935, photographed by Sam Hood. The Rudd films drew on Steele Rudd's selector stories, a durable Australian comic property.
  258. - Ballet Russe de Monte Carlo in Australia. The Ballet Russe de Monte Carlo on its Australian tour in the late 1930s. The tours introduced Australian audiences to modern classical ballet at first hand.
  259. - Ballets Russes dancers in Australia. A further image from the Ballet Russe Australian tours. Dancers who remained afterwards founded schools that trained the first generation of Australian professionals.
  260. - Les Sylphides on the Australian tour. Les Sylphides as performed on the Australian Ballets Russes tours. The repertoire was the first sustained exposure Australian audiences had to the Diaghilev tradition.
  261. - Helen Twelvetrees at Cinesound. The American actor Helen Twelvetrees at Cinesound Studios in Sydney in 1936, photographed by Sam Hood. Australian producers imported overseas leads to make films saleable abroad.
  262. - Cecil Kellaway arrives for Cinesound. Cecil Kellaway arriving on the Melbourne Express for Cinesound in 1936. Kellaway later worked extensively in Hollywood.
  263. - Filming a departure for Cinesound. The actor John Longden departing on the Strathnaver, filmed by Cinesound. Shipboard arrivals and departures were standard newsreel material.
  264. - Regent Theatre usher. An usher at the Regent Theatre in 1936. Uniformed staff were standard in the large city houses.
  265. - Rehearsing Swing Along. A rehearsal for Swing Along at the Theatre Royal in 1937, photographed for J.C. Williamson. Musical comedy was the firm's most reliable product.
  266. - Filming A Nation is Built. Production of A Nation is Built, directed by Frank Hurley for Cinesound to mark the 1938 sesquicentenary. Hurley had been the photographer on Antarctic expeditions before turning to film.
  267. - Kings Picture Theatre auditorium. The auditorium of the new Kings Picture Theatre at Mosman in Sydney in 1937. Suburban cinemas of this scale were built across Australian cities in the interwar decades.
  268. - Hermannsburg Mission in the 1930s. A view of the mission photographed by Donald and Isabel Dowling between 1938 and 1948. The Dowlings were outside visitors and the image is theirs, made of a place where Arrernte people lived under mission authority. Namatjira was already selling watercolours by the time it was taken.
  269. - Dancer in a Williamson theatre. A dancer in a J.C. Williamson theatre in 1938. The firm presented ballet alongside its commercial musical seasons.
  270. - Cinesound miniature set, 1938. Building a miniature film set at Cinesound in Sydney on 7 November 1938. Cinesound Productions made seventeen features between 1931 and 1940 and was the closest thing Australia had to a studio system.
  271. - Hoyts children's club, Clovelly. Boys of the Hoyts Clovelly Theatre children's club with their bicycles in 1938. Saturday morning clubs were how suburban cinemas built a weekly audience.
  272. - Enmore Theatre promotion, 1938. A promotional lorry for the Enmore Theatre in Sydney in December 1938. The Enmore opened in 1908 and is still a working music venue.
  273. - Wallace Bishop store, Queen Street, Brisbane. The Wallace Bishop jewellery store on the corner of Albert and Queen Streets in central Brisbane in 1939. Street awnings and verandahs over the footpath were normal in Australian city retail and were progressively removed from central Brisbane after the war on traffic and streetscape grounds.
  274. - Commissionaires outside the Theatre Royal. Female commissionaires outside the Theatre Royal in 1939. Front of house staffing changed as men left for war service.
  275. - Original Ballet Russe at the Theatre Royal. The Original Ballet Russe season at the Theatre Royal in Sydney in 1939. The touring Ballets Russes companies were stranded in Australia by the outbreak of war and several dancers stayed.
  276. - Roxy Picture Theatre, Everard Park. The Roxy Picture Theatre at Everard Park in South Australia in 1939. Streamlined Moderne fronts marked the late 1930s wave of Australian cinema building.
  277. - Star theatre, Wakefield Street. The Star theatre on Wakefield Street in Adelaide in 1939. Adelaide's city cinemas clustered on a few blocks.
  278. - 93 - 148245 - Unknown artist 'Shield' pre 1940. 1940 held by National Gallery of Australia.
  279. - A film about how wool is marketed in Australia, 1940's -- Film 3682. 1940. Filed as a wool and labour record, from footage of 1940 held by HuntleyFilmArchives.
  280. - Dressing room at the Cremorne Theatre. Dancers in a dressing room at the Cremorne Theatre in Brisbane in 1940. Backstage conditions in the commercial houses were cramped and unglamorous.
  281. - Adjusting pointe shoes. A dancer adjusting pointe shoes around 1940. Shoes are consumed at a rate that makes them a significant line in any company budget.
  282. - Charles and Elsa Chauvel on set. Charles and Elsa Chauvel with a cinematographer and actors in Australian uniform. The Chauvels worked as a directing and writing partnership across three decades of Australian production.
  283. - Forty Thousand Horsemen. Chips Rafferty, Grant Taylor and Pat Twohill in Forty Thousand Horsemen, Charles Chauvel's 1940 film about the Australian Light Horse. It was shot in sand dunes at Cronulla standing in for Palestine.
  284. - Rafferty and Taylor between takes. Chips Rafferty and Grant Taylor between takes on Forty Thousand Horsemen. Rafferty became the standard screen image of the lean Australian bushman for two decades.
  285. - Camel on the Chauvel set. A camel on the set of Forty Thousand Horsemen. Chauvel made the film during the Second World War, when the earlier war was being invoked directly.
  286. - [Bombing of Darwin 19 February 1942]. 19 February 1942, with the official death toll given as 236 and historians proposing a range up to about 297. The footage depicts events of 1942. Filed as a war and commemoration record, from footage of 1942 held by AWM Collection.
  287. - The White Australia Policy and Australia’s Asian troops 1942 – 49- Ernest Koh. 1942. Filed as a migration policy record, from footage of 1942 held by Centre for Creative and Cultural Research.
  288. - Strathfield cinema dress circle foyer. The dress circle foyer of the Strathfield cinema in 1942. The foyer was part of the attraction, designed to be a step up from the street.
  289. - Mareeba picture theatre. The Mareeba picture theatre in 1942, when the Atherton Tableland held large military camps. Cinemas served troops as well as townspeople.
  290. - Kokoda Front Line! | 1942 | Documentary | Peter Bathurst & Damien Parer. Kokoda Front Line, published by Documentary Archive. Japan decided against invading Australia in February 1942 and undertook no planning or preparation for it. The footage depicts events of 1942. Filed as a war and commemoration record, from footage of 1942 held by Documentary Archive.
  291. - Kokoda Front Line! (1942) - Australia’s first Oscar-winning film. 1942 and undertook no planning or preparation for it. The footage depicts events of 1942. Filed as a war and commemoration record, from footage of 1942 held by Old Australia Archives.
  292. - Picture theatre prices hearing. A Prices Commission hearing on picture theatre admission in 1943. Wartime price control extended to cinema tickets.
  293. - Photo call for The Squall. A photo call for The Squall at the Theatre Royal in 1944. Press calls were staged separately from performance for the newspapers.
  294. - Mobile cinema units. Two Ford mobile cinema units donated through the Australian Comforts Fund in 1944. Mobile projection took film to troops and to towns without a theatre.
  295. - Capitol Theatre, Sydney. The Capitol Theatre in Sydney in 1945. Built as an atmospheric theatre with a painted sky ceiling, it was restored in the 1990s for musicals.
  296. - Menzies, Lyons and Holt outside Parliament House. Robert Menzies, Enid Lyons, Eric Harrison, Harold Holt and Thomas White on the steps of the provisional Parliament House in Canberra in 1946. Holt as immigration minister in 1966 announced the changes that ended racial selection in practice, and Menzies had presided over the postwar mass migration programme that began the shift. The dictation test itself was abolished in 1958.
  297. - Borovansky Ballet dancers. Martin Rubenstein and Kathleen Gorham of the Borovansky Ballet in 1946. Edouard Borovansky, another dancer who stayed after a tour, ran the company that preceded the Australian Ballet.
  298. - Inside Angus and Robertson, 1946. Inside Angus and Robertson on Castlereagh Street in Sydney in 1946. The firm operated as publisher and bookseller together, which gave it unusual reach over Australian writing.
  299. - Ballet at the Theatre Royal. 1946. The same houses carried opera, ballet, musicals and variety in the same season.
  300. - Music teaching in Sydney, 1946. A music teacher with a student in Sydney in 1946. Private teaching and the examination system carried classical training in Australia far beyond the conservatoriums.

…and 1,825 more moments.

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