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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

The Gallery’s Acknowledgement of Country, and information on culturally sensitive and restricted content and the use of historic language in the collection can be found here.

Frances Perry

c. 1863
Batchelder & O'Neill

albumen paper carte de visite (sheet: 10.4 cm x 6.4 cm, image: 9.0 cm x 5.8 cm)

Frances Perry (1814–1892), welfare worker, came to Victoria in 1847 when her husband Charles was appointed Anglican Bishop of Melbourne. As one historian has explained, this effectively meant that the diocese got ‘two workers for the price of one’, with Frances Perry not only exemplifying the role of helpmeet and arbiter of morality but contributing substantially to the establishment of essential social services. She worked for the Melbourne Orphan Asylum, the Carlton Refuge and the Melbourne Home for Governesses and Needlewomen, and was founding president of the Melbourne Lying-In Hospital and Infirmary for Diseases of Women and Children. Now the Royal Women’s Hospital, it opened in 1856 to provide care for patients otherwise unable to afford it, the exodus of men to the goldfields having left many women as good as destitute. On occasion, however, the hospital’s management was accused of lacking charity for their ‘moral inquisitions’ into prospective patients, and for ‘excluding … a class of unfortunate women who are oftentimes more to be pitied than condemned.’ Prostitutes, in other words, and single women who had been seduced and abandoned. Despite this, the hospital admitted almost 3000 women in its first decade. During the same period it became the first hospital in Australia to offer nursing training and in 1865 instituted teaching in obstetrics and gynaecology. Frances served as president of the hospital until her departure from Melbourne in April 1874. Frances Perry House opened as a private wing of the Royal Women’s Hospital in 1970 and since 2005 has operated as an independent private hospital.

The firm comprised of the American-born photographers Batchelder & O’Neill became one of Melbourne’s leading studios following its formation in the late 1850s. It had its origins in the business started by Perez Mann Batchelder in 1854. His brothers Benjamin, Nathaniel and Freeman joined him in the business in 1856. Another American, Daniel O’Neill became a partner in 1857, when Perez Batchelder left Victoria. In 1863 they advertised for an ‘experienced operator, for country travelling.’ By 1864 O’Neill was running the Melbourne side of the business outright, Benjamin Batchelder having opened a branch of the firm in Bendigo. O’Neill relocated to Sydney in the late 1860s but by 1871 had returned to Melbourne, working from premises on Swanston Street as a dealer in photographic supplies and equipment. Other photographers continued to trade under the Batchelder name until the mid-1890s though the original proprietors had either died or long since ceased their association with the business.

Purchased 2012

The National Portrait Gallery respects the artistic and intellectual property rights of others. Works of art from the collection are reproduced as per the Australian Copyright Act 1968 (Cth). The use of images of works from the collection may be restricted under the Act. Requests for a reproduction of a work of art can be made through a Reproduction request. For further information please contact NPG Copyright.

Artist and subject

Batchelder & O'Neill

Frances Perry (age 49 in 1863)

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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders past and present. We respectfully advise that this site includes works by, images of, names of, voices of and references to deceased people.

This website comprises and contains copyrighted materials and works. Copyright in all materials and/or works comprising or contained within this website remains with the National Portrait Gallery and other copyright owners as specified.

The National Portrait Gallery respects the artistic and intellectual property rights of others. The use of images of works of art reproduced on this website and all other content may be restricted under the Australian Copyright Act 1968 (Cth). Requests for a reproduction of a work of art or other content can be made through a Reproduction request. For further information please contact NPG Copyright.

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