This is a leather covered book of 801 pages. The cover is decorated with gold panels of fruit and has gold lettering on the spine. The pages have gilt edges. It contains text, sketches, lithographs, maps and five loose maps. non-fictionA contemporary and geographical record of Australasia in the 19th centuryaustralasian history, antiquarian books, picturesque atlas of australasia, warrnambool, picturesque atlas of australasia volume 2

The Eltham Shire War Memorial, a tower of remembrance, was built with public donations to commemorate the memory of the fallen soldiers from the shire who enlisted in the 1914-1918 war. The tower is reminiscent of the peel-towers or watchtowers that lined the English-Scottish border from the mid 14th century to around 1600 and is constructed from locally quarried stone. This uncommon and picturesque war memorial, which affords an excellent view of the surrounding district was unveiled by His Excellency the Governor-General (Lord Stonehaven) on November 11, 1926. In July 1922 a deputation of returned soldiers from Panton Hill, presumably the Panton Hill branch of the Returned Sailors and Soldiers Imperial League of Australia (RSSILA), proposed to Eltham Shire Council that the monument should be a cairn of local stone “sufficiently high to form a prominent and conspicuous landmark, and crowned with some suitable device”. Eltham Shire Councillor and President of the Panton Hill branch of the RSSILA, Basil Hall, was credited with being the first to suggest a tower, and with organising a Memorial Park committee to raise funds for the monument in the Memorial Park. A meeting for those interested in the establishing a War Memorial monument in the park was held in January 1924 and the Eltham Shire War Memorial League was formed for this purpose. It appears that the broad and rounded cairn that had been recently built was considered by the League a temporary affair, and not the substantial cairn-as-monument, sufficiently high to form the conspicuous landmark, which had been envisaged by the Panton Hill RSSILA. A design competition was held for the monument. The chairman of the League, Councillor Basil Hall, suggested that the site of the memorial in Kangaroo Ground would lend itself to something rugged, instead of polished stone. By April 1924 thirty designs for a memorial had been received from which three designs were selected and of those, the design by the shire engineer Mr McCormack, for a 70ft tower suitable for construction in rough stone, was chosen. Artist Harold Herbert suggested that a peel tower-like design reminiscent of those along the English-Scottish border would be fitting for the site. Herbert drew up a rough sketch that was approved of, and later, Melbourne architect Percy Meldrum volunteered to draw up the design from sketch to architectural drawings. By January 1925 the Soldiers’ Memorial League had adopted Meldrum’s design for a 50ft high tower. Meldrum had also offered his design and supervision of construction free of charge. The Shire provided the stone to the builders, which was a gift quarried from land owned at Kangaroo Ground by Dr Ethel and Professor William Osborne The Shire of Eltham War Memorial, a tower of remembrance, and honour board were unveiled on November 11, 1926, by the Governor General Lord Stonehaven. At this stage a temporary honour roll was painted on the panels on either side of the tower entrance. In September 1930 bronze plates were added above the portal with the names of men who fell in the 1914-18 war. On November 16, 1951, the Governor of Victoria, Sir Dallas Brooks re-dedicated the war memorial tower and unveiled the names of men who gave their lives in the 1939-45 war. Two additional bronze plaques which recognise service in the armed conflicts of Korea, Borneo, Malaya, and Vietnam were unveiled November 11, 2001, by the Governor of Victoria, John Landy, A.C., M.B.E. The tower was first used for fire spotting activities following the Black Friday bushfire in January 1939 in response to a request from Mr R.D. Ness, secretary of the Kangaroo Ground bush fire brigade, who asked Council that the tower be used as an observation tower for detecting bush fires, and asked Council to arrange a telephone to be installed. It was suggested that if the Shire were to appoint a caretaker for the Memorial Park, his duties could also include raising the alarm in the event of a fire. Later in 1939 Council applied for a radio transmitter, which the Forestry Commission planned to install at vantage places throughout the state. The first dedicated fire spotter appointed from December1948, was Mr Smith of Warrandyte. A prefabricated glazed cabin was installed in 1974, which involved the removal of the original stone structure around the rooftop exit door. A new fire spotting cabin, which included the latest technology, was installed soon after the 2009 Black Saturday fires and is manned by CFA personnel on high fire danger days. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p123This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. While published in the book in black and white, this collection features the original colour digital photographs. nillumbik now and then (marshall-king) collection, garden hill, kangaroo ground, memorial park, shire of eltham war memorial

ARTIST WALTER WITHEBS, whose pictures are now on exhibition at his Melbourne studio on Wednesdays and Saturdays, is an Englishman by birth, but an ardent Australian by adoption. His landscapes are "racy of the soil,” and amongst the most successful work of the kind done by Victorian artists. Withers does most of his work at his Heidelberg home, where he leads a serene life of artistic simplicity amidst the most picturesque surroundings. PEOPLE WE KNOW (1897, June 17). Melbourne Punch (Vic. : 1855 - 1900), p. 2. Retrieved August 22, 2023, from http://nla.gov.au/nla.news-article174626232Journal inscribed: "Mrs Withers 463 Collins St. West Melbourne"art exhibition, art review, john withers collection, melbourne, walter withers studio, 463 collins street west, walter herbert withers, artist

Located on the north side of Bridge Street at the intersection with Bolton Street, facing Bolton Street (now part of present day Brisbane Street and occupied by the Kitchen Design Centre). Show's an original early settler's cottage in Bridge Street. The cottage was built by Mrs Mary Jane Smart's parents, Edwin Bailey and Jane (nee Matthews). Mary Jane Smart was born in the cottage. She married an Englishman, Alexander Wilson Smart who disappeared to Western Australia in the early 1900s in search of gold. He ultimately married again in W.A., committing bigamy and then committed murder and was hung in 1911. This photo was taken c.1903 not long before both Mrs Bailey and her grand daughter both passed away. Jane Bailey died 2 Dec. 1904 and Mary Jane Smart and Ruby Jane Bertha Smart died July 1903 are all buried in Eltham Cemetery. SMART'S HOME AT ELTHAM. HIS WIFE AND SONS. In a little bush cottage surrounded by tall gum trees, through which appear glimpses of a willow fringed creek, of road ways hedged by masses of snowy flowering hawthorn, of growing crops and vividly green grazing paddocks, lives Mrs. Smart, the lawful wife of the man who is now in the hands of the police of Western Australia on suspicion of having committed a dreadful crime. Here, about half a mile out of the picturesque village of Eltham, she was born, and has lived her whole life — about 50 years. Smart himself lived here till the time when many years ago, the "lure of gold" got into his blood and he cleared out to Western Australia, to follow the digging rushes, gradually becom ing more and more estranged, till at length all communication ceased and be became lost to his wife and children. "I did not want him to go away," said Mrs. Smart, "because I had heard of so many men who had forgotten their homes in the excite ment of gold seeking, and of many others who died unknown and uncared for. But he would go, and when I saw his mind was set on it I placed no obstacles in his way. My parents built and lived in this cottage, where I was born, and they died in it. When I grew up I met my husband, a young Englishman, and married him. His name is Alexander, not Alfred, and his age is 52. We were very happy here, and although we were not well off we were comfortable, for he was a steady, sober, industrious man and had constant employment. He was just a manual worker, but could turn his hand to anything. We had five children, but one died. Four sons grew up in this little cottage. Thus three generations lived in it, somewhat unusual in an Australian bush home, I think. My eldest son is married and has a family; one is in Western Australia— not with his father— another is away working for him self, and one (indicating a young man by her side) has always stuck to his mother. He is my sole support, and he is as good to me now as his father once was. Yes, his father was a good, home-loving man in our younger days. He was fond of his children and was highly respected in these parts.' "It is fifteen years since my husband went away first. He had then been work ing for the Metropolitan Board of Works, and was engaged in the tunnel under the Yarra near Queen's-bridge when it col-lapsed. After he went to the West he sent me money regularly and wrote constantly. He came home three times — twice for a week or two at a time, the third time, eight years ago, when the Eitham railway was nearing completion. I induced him to stay till the railway opened, and he re-mained with me several months. I tried to get him to leave the West and settle down in his home, but he would not; he seemed restless and anxious to be off. One day when we were in Collingwood together he left me, saying he wanted to see what boats were going West. I implored him not to go away, and he said he would see. However, he returned to me soon after wards and said he had taken his ticket and would go by the next boat, and he went. For a year he wrote at irregular intervals, and then his letters ceased and I heard no more of him. For seven years I have not known whether he was alive or dead. Before that time my two sons in Western Australian used to see him some times, though they did not live with him; they used to tell me in their letters that he was well. It was a hard blow to be forgotten by him, but as my sons grew up I became more reconciled, and now I seem to look back at my life with him as some thing that happened a long time ago and is only a memory. Of his life and doings in Western Australia I know nothing. The last time I heard of him he was working in a foundry at Midland Junction. He was at Cue working on the railway when it opened there, and he caught the fever, but all that time he sent me money. When he returned the first time he took our eldest son with him, and the other boy followed later. They did not stay with him, how ever, and as far as I know they did not know how he lived." 'Mrs. Smart is a quiet, toil worn woman who has the respect of everyone who knows her.Roll of 35mm colour negative film, 3 strips Associated print from negative (Copy of original print)Fuji 100bridge street, cottage, smart home, houses, mary jane smart (nee bailey), smart family home, alexander wilson smart, bigamy, bush cottage, early settlers, eltham, jane bailey (nee matthews), murder, ruby jane bertha smart

A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia as a souvenir of Marysville.A black and white photograph of Steavenson Falls, Marysville, Victoria. The Steavenson Falls is named after the Victorian Assistant Commissioner of Roads and Bridges, John Steavenson, who arrived in Victoria in the early 1860s. At 84 metres high, Steavenson Falls is Victoria's tallest cascading waterfall. The falls are split into roughly five cascades, with the last of these plunging into a small, picturesque rock pool. This postcard was produced by the Rose Stereograph Company as a souvenir of Marysville.REAL PHOTO POST CARD THE "ROSE" SERIES DE LUXE PRODUCED IN AUSTRALIA PUBLISHED BY "THE ROSE STEREOGRAPH" Armadale,/ Victoria.stevenson's falls, marysville, victoria, waterfall, p. 2302, rose series postcard, postcard, souvenir, john steavenson, steavenson falls

A postcard in a series produced by the Rose Stereograph Company as a souvenir of Marysville. A black and white photograph of Steavenson Falls, Marysville, Victoria. The Steavenson Falls is named after the Victorian Assistant Commissioner of Roads and Bridges, John Steavenson, who arrived in Victoria in the early 1860s. At 84 metres high, Steavenson Falls is Victoria's tallest cascading waterfall. The falls are split into roughly five cascades, with the last of these plunging into a small, picturesque rock pool. This postcard was produced by the Rose Stereograph Company as a souvenir of Marysville.REAL PHOTO POST CARD THE "ROSE" SERIES DE LUXE PRODUCED IN AUSTRALIA PUBLISHED BY THE ROSE STEREOGRAPHS Armadale Victoria.stevenson's falls, steavensons falls, marysville, victoria, waterfall, p. 2303, rose series postcard, postcard, souvenir, john steavenson

A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia as a souvenir of Marysville.A black and white photograph of Steavenson Falls in Marysville in Victoria. The Steavenson Falls is named after the Victorian Assistant Commissioner of Roads and Bridges, John Steavenson, who arrived in Victoria in the early 1860s. At 84 metres high, Steavenson Falls is Victoria's tallest cascading waterfall. The falls are split into roughly five cascades, with the last of these plunging into a small, picturesque rock pool. This postcard was produced by the Rose Stereograph Company as a souvenir of Marysville.POST CARD The "Rose" Series/ De Luxe A Real Photograph/ Produced in Australia Published by the Rose Stereograph Co,/ Armadale, Victoria.marysville, victoria, waterfalls, p. 4990, stevenson falls, steavenson falls, rose series postcard, postcard, souvenir, john steavenson

A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia as a souvenir of Marysville. The Steavenson Falls is named after the Victorian Assistant Commissioner of Roads and Bridges, John Steavenson, who arrived in Victoria in the early 1860s.A black and white photograph of Steavenson Falls, Marysville, Victoria. The Steavenson Falls is named after the Victorian Assistant Commissioner of Roads and Bridges, John Steavenson, who arrived in Victoria in the early 1860s. At 84 metres high, Steavenson Falls is Victoria's tallest cascading waterfall. The falls are split into roughly five cascades, with the last of these plunging into a small, picturesque rock pool. This postcard was produced by the Rose Stereograph Company as a souvenir of Marysville.THE ROSE SERIES P. 10200/ COPYRIGHT/ STEVENSON FALLS, MARYSVILLE, VIC. POST CARD The "Rose" Series/ De Luxe A Real Photograph/ Produced in Australia Published by the Rose Stereograph Co.,/ Sydney and Melbournestevenson falls, marysville, victoria, waterfalls, p. 10200, steavenson falls, rose series postcard, postcard, souvenir, john steavenson

A colour photograph of the view from Keppel Lookout of Marysville and the Cathedral Range along with photographs of the main street in Marysville, Steavenson Falls, birdlife and snow in Marysville. A colour photograph of the view from Keppel Lookout of Marysville and the Cathedral Range along with photographs of the main street in Marysville, Steavenson Falls, birdlife and snow in Marysville. This postcard was produced by Imagine That! Promotions as a souvenir of Marysville.Marysville is a beautiful small country town approximately 100 km's from Melbourne. It is/ well known for its amazing autumn colours, prolific wildlife and is only half an hours drive/ from Lake Mountain, Australia's largest Cross Country Skiing Resort./ Featured is (Main Picture) Marysville with the picturesque Cathedral Range in the back-/ ground as seen from Keppel Lookout. From the left is Marysville's main street during/ Autumn, Steavenson Falls, Crimson Rosellas and Marysville covered by a low snowfall. Imagine That!/ Post Cards Imagine That! Promotions/ Country Victoria Collection/ Landscape 1/ c 2002/ Ph: (03) 5966 8523 Fax: (03) 5966 8458 Mob: 0418 593 534 Place/ Stamp/ Heremarysville, keppel lookout, cathedral range, murchison street, steavenson falls, scarlet rosella, snow, imagine that! promotions, postcard, souvenir

Donated By Edith ElmsColour Postcard Folder of 7 Photographs of San Remo and Phillip Island. 1. Front Cover: View of Suspension Bridge, San Remo to Phillip Island. 2. "Penguin Parade ""Always Dressed for Dinner"" 3. "Marine Parade, San Remo, Vic." 4. "The Picturesque Cost, San Remo, Vic.," 5. "A Seal on the Rocks, Phillip Island, Vic." 6. "The Wharf, San Remo, Vic." 7. "Koalas or Australian Native Bears" Above descriptions as per Inscriptions on photographs. As in Physical Descriptionsan remo, wildlife - koala, wildlife - seals, wildlife - penguins, coastline, jetty san remo, phillip island, suspension bridge san remo/phillip island, edith elms

Folder donated by Joe Prince. Inside folde as writtenr: "Phillip Island, Victoria, Australia" "Situated in Westernport Bay, Phillip Island offers a delightful combination of rugged coastal scenery, quiet restful countryside, and calm sheltered coves. The tourist finds ample interesting features within easy reach of the many Guest Houses and Hotels. The native Koala Bear is seen in numerous parts of the island, and tourist parties are given the opportunity of visiting the haunts of the Penguin and Seal. Excellent beaches provide good swimming and surfing, and the sportsman finds plenty of scope for his activities. The new bridge from San Remo to Newhaven provides an alternative means of communication to that supplied by the Ferry from Stony Point to Cowes." Colour photo folder of Phillip Island. 1. The picturesque rugged coastline at Phillip Island 2. Isle of Wight Hotel, Cowes, Phillip Island 3. The Nobbies and Seal Rocks, Phillip Island 4. Summerland Beach, the home of the Fairy Penguins, Phillip Island (now called Little Penguins) 5. Overlooking the Jetty at Cowes, Phillip Island 6. View from the Jetty looking towards Cowes 7. The Australian Koala and young 8. Thompson Avenue, Cowes 9. One of the many fine beaches at Phillip Island 10. Coastal scene from Erehwon Point, Phillip Island 11. Seals on the Seal Rocks, off Phillip Island 12. The Parade of the Fairy Penguins, Phillip Island 13. Fishing craft at San RemoOn front: "Phillip Island"coastline phillip island, wildlife - koala, wildlife - penguins, wildlife - seals, cowes jetty, cowes pier phillip island, isle of wight hotel - cowes phillip island, fishing boats, the nobbies phillip island, seal rocks phillip island, seals on seal rocks phillip island, joe prince, thompson avenue, cowes

Conference paper comparing the natural Australian landscape with the influence of English landscape traditions.Photocopy of transcript of conference paper, 15 pages.plenty river, plenty valley, flora, landscapes

Believed to be Mrs Jane Bailey (nee Matthews) (d. 1904) and her grand-daughter Ruby Jane Bertha Smart (1890-1903) in front of the Smart family cottage in Bridge Street, Eltham, c.1903 Located on the north side of Bridge Street at the intersection with Bolton Street, facing Bolton Street (now part of present day Brisbane Street and occupied by the Kitchen Design Centre). Ruby Jane Bertha Smart born abt 1890 died in 1903 in Eltham. Her brother Alfred Francis Smart was born abt 1887 and died 1966 in Mont Albert, Vic. (Accessed via Ancestry.com) Show's an original early settler's cottage in Bridge Street. The cottage was built by Mrs Mary Jane Smart's parents, Edwin Bailey and Jane (nee Matthews). Mary Jane Smart was born in the cottage. She married an Englishman, Alexander Wilson Smart who disappeared to Western Australia in the early 1900s in search of gold. He ultimately married again in W.A., committing bigamy and then committed murder and was hung in 1911. This photo was taken c.1903 not long before both Mrs Bailey and her grand daughter both passed away. Jane Bailey died 2 Dec. 1904 and Mary Jane Smart and Ruby Jane Bertha Smart died July 1903 are all buried in Eltham Cemetery. SMART'S HOME AT ELTHAM. HIS WIFE AND SONS. In a little bush cottage surrounded by tall gum trees, through which appear glimpses of a willow fringed creek, of road ways hedged by masses of snowy flowering hawthorn, of growing crops and vividly green grazing paddocks, lives Mrs. Smart, the lawful wife of the man who is now in the hands of the police of Western Australia on suspicion of having committed a dreadful crime. Here, about half a mile out of the picturesque village of Eltham, she was born, and has lived her whole life — about 50 years. Smart himself lived here till the time when many years ago, the "lure of gold" got into his blood and he cleared out to Western Australia, to follow the digging rushes, gradually becom ing more and more estranged, till at length all communication ceased and be became lost to his wife and children. "I did not want him to go away," said Mrs. Smart, "because I had heard of so many men who had forgotten their homes in the excite ment of gold seeking, and of many others who died unknown and uncared for. But he would go, and when I saw his mind was set on it I placed no obstacles in his way. My parents built and lived in this cottage, where I was born, and they died in it. When I grew up I met my husband, a young Englishman, and married him. His name is Alexander, not Alfred, and his age is 52. We were very happy here, and although we were not well off we were comfortable, for he was a steady, sober, industrious man and had constant employment. He was just a manual worker, but could turn his hand to anything. We had five children, but one died. Four sons grew up in this little cottage. Thus three generations lived in it, somewhat unusual in an Australian bush home, I think. My eldest son is married and has a family; one is in Western Australia— not with his father— another is away working for him self, and one (indicating a young man by her side) has always stuck to his mother. He is my sole support, and he is as good to me now as his father once was. Yes, his father was a good, home-loving man in our younger days. He was fond of his children and was highly respected in these parts.' "It is fifteen years since my husband went away first. He had then been work ing for the Metropolitan Board of Works, and was engaged in the tunnel under the Yarra near Queen's-bridge when it col-lapsed. After he went to the West he sent me money regularly and wrote constantly. He came home three times — twice for a week or two at a time, the third time, eight years ago, when the Eitham railway was nearing completion. I induced him to stay till the railway opened, and he re-mained with me several months. I tried to get him to leave the West and settle down in his home, but he would not; he seemed restless and anxious to be off. One day when we were in Collingwood together he left me, saying he wanted to see what boats were going West. I implored him not to go away, and he said he would see. However, he returned to me soon after wards and said he had taken his ticket and would go by the next boat, and he went. For a year he wrote at irregular intervals, and then his letters ceased and I heard no more of him. For seven years I have not known whether he was alive or dead. Before that time my two sons in Western Australian used to see him some times, though they did not live with him; they used to tell me in their letters that he was well. It was a hard blow to be forgotten by him, but as my sons grew up I became more reconciled, and now I seem to look back at my life with him as some thing that happened a long time ago and is only a memory. Of his life and doings in Western Australia I know nothing. The last time I heard of him he was working in a foundry at Midland Junction. He was at Cue working on the railway when it opened there, and he caught the fever, but all that time he sent me money. When he returned the first time he took our eldest son with him, and the other boy followed later. They did not stay with him, how ever, and as far as I know they did not know how he lived." 'Mrs. Smart is a quiet, toil worn woman who has the respect of everyone who knows her.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg Original print 10.5 x 16.5 cmFor postcard print: Inscribed on envelope: "Return to Mrs H. Butherway, 22 Bridge St, Eltham." Also "Photo Mrs Clark Hampton (nee Smart), original Smart's house - Bridge Street, 95 years ago." Also "Right - Mrs Clark's grandmother Mrs J Smart Left - Her daughter Ruby dies soon after photo taken. Brother Alf Smart died about 6 years ago." Inscribed on back of photo "247 Vincent St, Leederville" It is believed that this inscription may be somewhat mixed up.sepp, shire of eltham pioneers photograph collection, eltham, bridge street, alexander wilson smart, bigamy, bush cottage, early settlers, houses, jane bailey (nee matthews), mary jane smart (nee bailey), murder, ruby jane bertha smart, smart family home, smart home

A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia.A black and white photograph of Steavenson Falls, Marysville, Victoria. The Steavenson Falls is named after the Victorian Assistant Commissioner of Roads and Bridges, John Steavenson, who arrived in Victoria in the early 1860s. At 84 metres high, Steavenson Falls is Victoria's tallest cascading waterfall. The falls are split into roughly five cascades, with the last of these plunging into a small, picturesque rock pool. This postcard was produced by the Rose Stereograph Company as a souvenir of Marysville.THE SOUTHERN CROSS SERIES 4990./ COPYRIGHT/ STEVENSON FALLS, MARYSVILLE, VIC. POST CARD. Correspondence/ Address Mt. Kitchener House/ Marysville Dear Dad,/ I'm having a/ great time up here,/ I don't suppose you/ remember, but we used/ to walk up to see these/ falls when you were up/ here with me. I hope you/ like being at No. 6./ However, it won't be/ much longer now - I'll/ be home on Saturday./ Love to you all,/ Marjoriemarysville, victoria, waterfalls, stevenson falls, steavenson falls, southern cross series, 4990, postcard, souvenir, john steavenson

A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia as a souvenir of Marysville.A colour photograph of Steavenson Falls in Marysville, Victoria. The Steavenson Falls is named after the Victorian Assistant Commissioner of Roads and Bridges, John Steavenson, who arrived in Victoria in the early 1860s. At 84 metres high, Steavenson Falls is Victoria's tallest cascading waterfall. The falls are split into roughly five cascades, with the last of these plunging into a small, picturesque rock pool. Rose Series Postcard No. 3530. The Marysville Story/ Marysville lies in the Great Dividing/ Range, a peaceful town where lush/ mountain forests provide a perfect setting/ for bush walks or just relaxing. Lookouts/ and waterfalls abound, the most famous/ being Steavenson Falls, one of the tallest/ in Victoria and spectacularly floodlit at/ night./ Established in 1863, Marysville was/ named after the wife of surveyor John/ Steavenson. The discovery of gold at/ Woods Point meant that it became/ an important stopover for/ diggers on their/ way to the/ goldfields. Steavenson Falls POST CARD The "Rose" Series/ De Luxe Proudly Printed in/ Australia Since 1880 AFFIX/ STAMP/HERE/ Rose Series/ Post Card No./ 3530 ADDRESS/ POSTCODE the MARYSVILLE STORY & Steavenson Falls/ MARYSVILLE, VICTORIA, AUSTRALIA/ Photo Neil Cutts Copyright Rose Stereograph Co., Glen Waverley, Victoria (03) 9560 7772marysville, steavenson falls, victoria, postcard, souvenir, rose stereograph co, 3530, john steavenson

A postcard in a series produced by the Rose Stereograph Company in Victoria, Australia as a souvenir of Marysville.A colour photograph of Steavenson Falls in Marysville, Victoria. The Steavenson Falls is named after the Victorian Assistant Commissioner of Roads and Bridges, John Steavenson, who arrived in Victoria in the early 1860s. At 84 metres high, Steavenson Falls is Victoria's tallest cascading waterfall. The falls are split into roughly five cascades, with the last of these plunging into a small, picturesque rock pool. The Rose Series postcard No. 3530. The Marysville Story/ Marysville lies in the Great Dividing/ Range, a peaceful town where lush/ mountain forests provide a perfect setting/ for bush walks or just relaxing. Lookouts/ and waterfalls abound, the most famous/ being Steavenson Falls, one of the tallest/ in Victoria and spectacularly floodlit at/ night./ Established in 1863, Marysville was/ named after the wife of surveyor John/ Steavenson. The discovery of gold at/ Woods Point meant that it became/ an important stopover for/ diggers on their/ way to the/ goldfields. Steavenson Falls POST CARD The "Rose" Series/ De Luxe Proudly Printed in/ Australia Since 1880 AFFIX/ STAMP/HERE/ Rose Series/ Post Card No./ 3530 ADDRESS/ POSTCODE the MARYSVILLE STORY & Steavenson Falls/ MARYSVILLE, VICTORIA, AUSTRALIA/ Photo Neil Cutts Copyright Rose Stereograph Co., Glen Waverley, Victoria (03) 9560 7772marysville, steavenson falls, victoria, postcard, souvenir, rose stereograph co, 3530, john steavenson

A colour photograph of the tree lined main street in Marysville in Victoria.A colour photograph of the tree lined main street in Marysville in Victoria. The main street is Murchison Street. This postcard was produced by Nucolor Productions Pty. Ltd. as a souvenir of Marysville.MARYSVILLE VICTORIA/ The picturesque main street. NU-COLOR-VUE/ AUSTRALIA'S NATIONAL POSTCARD COMPANY AFFIX/ STAMP/ HERE/ 11MA015/ NCV 7957 ADDRESS/ POSTCODE COPYRIGHT Nucolorvue Productions Pty. Ltd./ Telephone (03) 560-1788/ Made in Australiamarysville, main street, murchison street, victoria, nucolorvue productions, postcard, souvenir

A colour photograph of the tree lined main street in Marysville in Victoria.A colour photograph of the tree lined main street in Marysville in Victoria. The main street is Murchison Street. This postcard was produced by Nucolor Productions Pty. Ltd. as a souvenir of Marysville.MARYSVILLE VICTORIA/ The picturesque main street. NU-COLOR-VUE/ AUSTRALIA'S NATIONAL POSTCARD COMPANY AFFIX/ STAMP/ HERE/ 11MA015/ NCV 7957 ADDRESS/ POSTCODE COPYRIGHT Nucolorvue Productions Pty. Ltd./ Telephone (03) 560-1788/ Made in Australiamarysville, main street, murchison street, victoria, nucolorvue productions, postcard, souvenir

Hardcover. Cover is brown with the title in gold lettering. Underneath the title is a symbol of a solid wreath surrounding the head of a ram. Three fold-out maps are included; Railway Postal and Telegraph Map of South Australia, 1888; Railway Postal & Telegraph Map of Queensland, 1888; Railway, Postal, Telegraph and Rainfall Map of Tasmania 1889. non-fictionThe Picturesque Atlas of Australasia-Volume 2atlas, australasia, history

A colour photograph taken along the Black Spur.A colour photograph taken along the Black Spur. The Black Spur is part of the Maroondah Highway and winds its way from Healesville to Narbethong and is considered to be one of Victoria's most picturesque drives. This postcard was produced by Scancolor Australia as a souvenir of Marysville.MARYSVILLE/ Victoria - Australia. On the way to Marysville the narrow highway/ climbs the Black Spur through large tree ferns/ and tall mountain ash trees. scancolor Australia (03) 555 1944 CS 4069marysville, victoria, black spur, maroondah highway, scancolor australia, postcard, souvenir

A colour photograph taken along the Black Spur.A colour photograph taken along the Black Spur. The Black Spur is part of the Maroondah Highway and winds its way from Healesville to Narbethong and is considered to be one of Victoria's most picturesque drives. This postcard was produced by Scancolor Australia as a souvenir of Marysville.MARYSVILLE/ Victoria - Australia. On the way to Marysville the narrow highway/ climbs the Black Spur through large tree ferns/ and tall mountain ash trees. scancolor Australia (03) 555 1944 CS 4069marysville, victoria, black spur, maroondah highway, scancolor australia, postcard, souvenir

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Glernfern H0136 https://vhd.heritagecouncil.vic.gov.au/places/57 (as at 23/10/2020) Glenfern was built on spacious grounds at the corner of Inkerman and Hotham Streets, East St Kilda in two main stages in 1857 and 1876. From 1876 to 1984 Glenfern had only two owners, including the well known Melbourne family of artists, the Boyds. The property was bequeathed to the National Trust of Australia (Victoria) in 1984 and has remained in their ownership. The original Glenfern allotment was bought by John Bakewell in 1856 and sold the following year to Francis McDonnell, a prominent Melbourne investor. By 1858, the house, rated as the most valuable in Caulfield, had been built on the site. Due to financial difficulties, McDonnell offered a number of properties for sale in 1860, including Glenfern. It was not sold at this stage, but subsequently mortgaged in 1862. In 1866 Thomas Watson purchased the property and lived there until 1876 when it was sold to Captain John T. T. Boyd and his wife, Lucy, founders of the Boyd dynasty of artists, musicians, writers and architects. The Boyd family, including twelve children, lived there until 1907, with Lucy Boyd retaining ownership after her husband's death in 1891. In 1907 the property was subdivided and the greatly reduced Glenfern portion was purchased by the Ostberg family, who lived there from 1915. In the latter years of Boyd family ownership and the Ostberg ownership, Glenfern had several tenants and was run as a school on two occasions. The Ostberg family occupancy continued until the death of Miss Amy Ostberg in 1984. From 1929 the property was listed as Glenfern Flats, necessitating various internal alterations over a period of time. The original two storey house, attributed to architect Charles Laing, was extended for the Boyd family in 1876, by architect M. Hennessy. This comprised the addition of a two storey wing to the south of the existing building. Stables were built in 1884 by the architects Smith and Johnson and other outbuildings, since removed, were recorded on the site. The gardens were developed from the establishment of the estate and remnants of early plantings, exotic trees in particular, are evident. Various additions and alterations were made to the house in the twentieth century and a separate block of flats was built on the southern boundary in c1964. Glenfern is a two storey picturesque Gothic house of stuccoed brick with steep, gabled slate roofs, elaborate bargeboards and chimneys of conjoined stacks set diagonally. The original, asymmetrically planned L-shaped house, containing the principal rooms and a rear wing, was designed with two main facades facing north and west. The north facade contains an unusual recessed pointed arch bay formed between twin chimney flues. Internally cedar joinery includes an unusual set of double doors between the drawing room and parlour, the centre pair of which fold back and then slide into the walls. Detailing of the 1876 additions copied that of the original house, including the bargeboards, chimneys and western verandah. Ownership of Glenfern passed to the National Trust of Australia (Victoria) in 1984 and in 2002 transformation of the property into a Centre for the Arts and Culture commenced. This began with the establishment of an Artist-in-residence programme, followed by the Glenfern Writers Centre. Restoration and renovation of the building has been undertaken concurrently with the establishment of this centre. How is it significant? Glenfern, East St Kilda is of architectural and historical significance to the State of Victoria. Why is it significant? Glenfern is of architectural significance as an unusually intact and rare example of the picturesque domestic Gothic Revival house in Victoria. Of particular note are the clustered chimneys, bargeboards and twin arched chimney flues and the folding/sliding cedar doors between the principal rooms. It is significant as an important work of the prominent Melbourne architect, Charles Laing. Glenfern is of historical significance for its connection with the distinguished Victorian Boyd family. It has been recorded in a painting by Emma Boyd, wife of Arthur, in 1885 and in print by writer, Martin Boyd in 1952. Glenfern is of historical significance due to its ownership by only two families from 1876; firstly the Boyds until 1907 and the Ostbergs until 1984. Of note is the resistance to redevelopment in the latter half of the twentieth century and the subsequent survival of the 1907 Glenfern estate.Page 98 of Photograph Album with two photographs (one square and one landscape) of views of Glenfern.Handwritten: "Glenfern" 417 Inkerman Street [top right] / 98 [bottom right]trevor hart, east st kilda, garden, pitched roof, glenfern, hotham street, boyd family, 1850's, 1860's, 1870's, john bakewell, francis mcdonnell, thomas watson, lucy boyd, glenfern flats, charles laing, m. hennessy, smith and johnson, stables, gothic, stuccoed brick, gabled slate roofs, elaborate bargeboards, asymmetrical, cedar joinery, verandah, national trust of australia, centre for the arts and culture, artist-in-residence, glenfern writers centre, gothic revival, clustered chimneys, emma boyd, inkerman street, north caulfield, captain john boyd, artists, writers, st kilda east, national trust of australia (victoria), caulfield, amy ostberg, architects, m hennessy, doors, chimneys, martin boyd, arthur boyd, ostberg family

Twelve views of Ballaratballarat, town hall, eureka memorial, ballarat conservatory, sturt street gardens, ballarat panorama, ballarat arch of victory, sturt street ballarat, bridge street, ballarat statuary pavilion, lake wendouree

Newspaper clipping of a building and yard at Post Office Hill, Ballarat.Post Office Hill, 1955, taken from Learmonth street, Bill Young's House makes a picturesque background for historical researcher Keith Rash, who stands behind the fence in the exact sport were the famous tree once stood."post office hill, ballarat, gaol tree, post office hill camp, learmonth street, bill young, keith rash, gaol tree

Discusses the reasons for Sydney's and Melbourne's new airports. Discusses the transformation from picturesque landscape to a growth of unordered supplementary structures surrounding airports (motels, sheds, storage rooms, petrol stations, shopping mall). Boyd predicts this "shanty town" image will only get worse, and critiques the image of Australia first presented to international visitors.Original manuscript of an article published in "The Sunday Australian", 27.06.1971Typewritten (c copy), quarto, 8 pagesNumbered in 13 paragraphstullamarine airport, international airport, melbourne's shanty town, robin boyd, manuscript

The (logging) truck carries a representation of John Glover’s painted landscapes, which Cox has painted on a solid block of wood. John Glover is one of Australia’s most celebrated colonial landscape painters. Born in England, he was a highly successful water-colourist and painter of landscapes in the tradition of French artist Claude Lorrain. Arriving in Australia in 1831, Glover adapted his picturesque style and luminous technique to his new surrounds, creating naturalistic and atmospheric paintings of Australian nature, settler life, and Aboriginal culture. Working out of doors, Glover developed an understanding of the unfamiliar Australian landscape, especially the twisting forms of native eucalyptus trees. His direct experience of nature, as both pioneer settler and painter, resulted in a new approach using a subtle palette of olive greens, ochres, misty greys and intense blues, and layered glazes of mauve, grey and gold, to portray Australian light and atmosphere. Dale Cox continues the ongoing preoccupation and tradition of landscape painting in the Nillumbik area and our impact on the environment in a contemporary way. The truck creates a playful nexus between painting (representational landscape) and sculpture, purposely bluring boundaries across these traditionally distinct disciplines. ‘Ghost’ seeks to convey the idea that when we remove something significant from a location, like the landscape itself, the remaining ‘place’ changes to become a new ‘place’. This may seem self-evident until we think more deeply about location and landscape. The white truck is a ghost, an ethereal, transient being that spirits away an entire place, forever removed from itself, and forever changed. Logging wild trees can never be like harvesting a ‘crop’. Logging removes a landscape, and changes a place forever. The ‘packaging’ of this painted landscape highlights the anomaly between commodity and our environment. Dale Cox was a local artist and this work was highly commended at the 2012 Nillumbik Prize. White plastic toy (logging) truck with a landscape painting on a wooden block. The landscape painting is reminiscent of paintings by colonial artist John Glover. N/Alandscape, truck, sculpture, environment, john glover, colonial, painting, ghost, nillumbik prize

Used by donor in 'Blackburn - a picturesque history'Black & white photo of United Free Methodist Church built in 1888 in Chapel Street. Re-sited in 1902 to cnr. Whitehorse Road and Melvin Street, Ringwood.|The United Free Methodist began working in Blackburn in Sept 1888, when an allotment was presented to church by Blackburn Company. (Freehold Investment and Banking Company).|Original Church built by Mr. Williams - cost 200 pounds.|First service held in 1890. Page 65 of De Costa Book.united free methodist church, chapel street blackburn, blackburn methodists, freehold investment and banking company of australia ltd

The Boroondara General Cemetery is registerd by Heritage VictoriaFrom Heritage Victoria Statement of Significance Last updated on - December 15, 2005 What is significant? Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known. The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end. The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia. The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii') Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. Why is it significant? The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery. The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment. The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907. The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement. The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (Chamaecyparis funebris 'Aurea') is the only known example in Victoria. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Digital image of the Springthorpe Memorial in the Boroondara General Cemeterycemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial, springthorpe memorial