Brass round medallion presented to Alex Taylor Returned from Active Service. A.Taylor. from Charlton Citizens 1939-1945

Sabrina Fair by Samuel Taylor directed by Elaine Robinson1958, 41, city of heidelberg repertory group, heidelberg theatre company inc, directed by elaine robinson

In Loving Remembrance of SARAH JANE The dearly bloeved wife of WILLIAM J. TAYLOR Died 9th Oct. 1898 Aged 43 years and 8 months. Dearest loved one we have laid thee, In the peaceful grave's embrace. But thy memory will be cherished, Till we see thy heavenly face. Also his loving wife MARGARET Died 17th Sept. 1915. Aged 63 years. Also our loving father WILLIAM J. TAYLOR Died 4th Aug. 1921, Aged 68 years. Our loved ones at rest.Born digital image (qty 4)eltham cemetery, graves, margaret taylor, sarah jane taylor (nee bunker), william john taylor

Abraham Taylor was born 20 October 1811 in Derrycarn, Drumcree Parish, County Armagh, Ireland, the son of Richard William Taylor and Annie Abraham. He married Ann McClelland on 19 February 1852 in Dumcree. They emigrated to Australia arriving in Geelong aboard the Ann Thompson on Christmas Day, 1852. His younger sisters Mary and Martha and brother William John all having separately preceded them in 1851 and 1852. Abraham and Ann settled in Little Eltham, Abraham was recorded as being 40 years of age and Ann, 36. They made their home and living as an orchardist and gardener where they had three sons, William John (1853 Little Eltham), Richard (1855 Eltham) and Robert David (1857 Eltham), tow of whom became Councillors of the Shire of Eltham; William (1890-1911) and Robert David (1911-1920). In June 1871, Abraham Taylor, Eltham gardener, applied for a 120-acre allotment half a mile northeast of the Research Gully Hotel on June 30, 1871. A license was issued to him January 30, 1872, for 114 acres, being Allotment 8, Section 18, the balance of 6 acres being retained for reserve. He built on the land a two roomed dwelling of slabs and palings. He and his family lived there or at their 6 ½ acre Eltham property, which was used for orchard and garden as a residence. In January 1875 a lease issued to Abraham Taylor for the land one chain wide each side at the gully named ‘Wet Gully’ was excluded. In August 1881 Abraham Taylor paid up all fees and applied for a Crown grant. He vainly requested that the grant be issued to his son, Robert David Taylor, Eltham however the grant was in fact issued to Abraham Taylor, Eltham, gardener. Abraham died at home on June 1, 1890. He was greatly respected by all who knew him. His sister Mary predeceased him 1873and is also buried at Eltham cemetery. Wife Ann died at home 1 September, 1893 and was buried with him. In Loving Remembrance of Abraham Taylor Who died June 1st 1890 Aged 80 years Also Ann Taylor Wife of the above Who died September 1st 1893 Aged 75 years Also Mary Taylor Who died September 22nd 1873 Aged 45 yearsRoll of 35mm colour negative film, 6 stripsKodak GC 400-9eltham cemetery, gravestones, abraham taylor, ann taylor, mary taylor

The Axis Kettle was developed through the EcoRedesign project funded by the Federal Government and based at RMIT in the 1980s and 1990s. The project involved the expertise of significant Victorian designers such as Paul Taylor, Gerry Mussett, Liam Fennessy and Michael Grima, as well as prominent sustainability experts such as academics John Gertsakis, Chris Ryan and Alan Pears. Axis changed the way kettles were used, guiding users to save resources through their behaviour. It is regarded globally by academics from prominent design institutions such as Loughborough and Delft as one of the first successful eco-design projects. The drawing is part of the Centre for Design collection, RMIT University. Simon Lockrey, 2017 The drawing is historically significant as an early eco-design project. Design drawing of KambrookKettle by Paul Taylor for Form Australia as part of the Centre for Design at RMIT University, featuring electric kettle drawn in black pen + ink with blue ink where kettle lid is. Written design descriptions appear along side the image and title below.LID / SANHOPRENE / GRIP / RECYCLED SKIN / ELECTRIC KETTLE. c 12TH FEB. '93household appliances, industrial design, sustainability, rmit university

This painting is one of a pair of large paintings by W. Langley-Taylor in our collection. Currently, no further information has been found about the artist but research is ongoing. The subjects of these paintings are seascapes of notable areas of the coast on each side of Port Phillip Bay, south of Melbourne, Victoria. The subject of this painting is Cape Schanck, Victoria, which is on the east side of Port Phillip Bay. It includes the Cape Schanck Lighthouse and its Flagstaff. The Cape Schanck Lighthouse was built in 1859 and is the second of Victoria’s coastal lights. It is 21 metres tall and made from limestone. Unusually, its stairway is made from stone rather than wrought iron. Gilded tours are available to explain its use and significance to visitors. The lighthouse keepers at Cape Schanck kept records of the ships that sailed past them along Bass Strait; ship’s names, direction, time and date and so on. The details would also be passed on to shipping agencies, Harbour Masters and newspapers, which published Arrivals and Departures into and out of shipping ports such as Port Phillip Bay and the Port of Melbourne. INSCRIPTIONS “Mrs M Irby” (and on the Eagle Rock, Warrnambool, painting “980/Regency”) The inscription “Mrs M Irby” is on the back of both paintings but the significance of the inscription has not yet been discovered. Perhaps she was connected with the ship or shipping company “Irby”. A ship named “Irby”, built in Merseyside, Liverpool in 1881 by R & J Evans, Birkenhead. It was a four-masted iron ship built for the White Star Line. Henry Wilson Hewitt bought her in 1882, then later she was owned by Chadwick & Pritchard. In 1888 she was registered under the Irby Ship Co. Ltd. (trading as J. Joyce) in Liverpool. In 1912 Galgate Co. Ltd owned her. She traded between London, England and Australia, and is recorded as being in Melbourne and Hobart. In 1919 the Irby was destroyed by a mine when on her way to England. Or perhaps her name and the inscription in pencil “980/Regency” on the Eagle Rock Warrnambool, painting could be a delivery address for the paintings, perhaps an apartment in a hotel. NOTE: The artist’s spelling of the title “Cape Schank, Vic.” is incorrect. The location in this painting is named Cape Schanck. This painting is significant geographically for its representation of the coastal scenery of Victoria, Australia. It is also significant as one of a pair of paintings of seascape, one at sites each side of Port Phillip Bay. The painting is significant historically as an example of late 19th and early 20th methods and materials used to construct a painting’s frame. Painting oil on board in a dark wooden frame, portrait orientation. Seascape of coast with cliffs, lighthouse and flagstaff, flying birds, high waves breaking onto rocks, blue sky with clouds. The title is painted on lower left corner and the Victorian artist, W. Langley-Taylor, has signed his name on lower right. The inscription on back is handwritten script in red crayon or thick red pencil. The board is held in place inside the timber frame with small, dark metal tacks around all sides. Metal eyes join the wire to the frame. Small round, dark metal nail heads are dispersed around the frame and there is a change of colour on both the board and the wood of the frame. Painted on front “W.LANGLEY-TAYLOR.” and “CAPE SCHANK, VIC.” [NOTE: correct spelling is Schanck] Handwritten on back “Mrs. M. Irby” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, painting, oil painting, cape schanck painting, w. langley-taylor, wall decoration, seascape of victoria's coast, art, mrs m irby, victoria's coast, pair of paintings

Unknown date. Sarah was born in Kangaroo Ground, the daughter of Edward and Ann Bunker. Edward's father was a convict, Mark Ashby Bunker (sent to Tasmania) and her mother, Sarah Goodwin was a daughter of First Fleet convicts, Andrew Goodwin and Lydia Munro. (Greg Taylor 19 July 2018)Digital filesarah jane taylor (nee bunker), william john taylor

This painting is one of a pair of large paintings by W. Langley-Taylor in our collection. Currently, no further information has been found about the artist but research is ongoing. The subjects of these paintings are seascapes of notable areas of the coast on each side of Port Phillip Bay, south of Melbourne, Victoria. This painting is of Eagle Rock, Warrnambool, which is on the west of Port Phillip Bay. Eagle Rock is located about 400 metres west of Thunder Point, near Shelly Beach. The painting includes the rocky cliff formations looking east towards the Warrnambool Breakwater. The walk from the Thunder Point car park westwards to Shelly Beach has been popular over the decades with residents as well as tourists. Many photographs include the rock, with varying backgrounds depending on the angle of the camera. It is a popular dive site for locals and visitors, in calm weather! The site can be approached by boat from the open sea in favourable conditions, and there is plenty of native marine to be seen in this marine sanctuary. This part of Warrnambool’s rugged coastline is unprotected from the Southern Ocean with its wild icy winds and high seas. The painting’s crashing waves and the northerly direction of the smoke on the steamship sailing north show the effect of the southerly wind. INSCRIPTIONS “Mrs M Irby” and “980/Regency” The significance of the inscription “Mrs M Irby”, on the back of each of the two paintings, has not yet been discovered. Perhaps she was connected with the ship or shipping company “Irby”. A ship named “Irby”, built in Merseyside, Liverpool in 1881 by R & J Evans, Birkenhead. It was a four-masted iron ship built for the White Star Line. Henry Wilson Hewitt bought her in 1882, then later she was owned by Chadwick & Pritchard. In 1888 she was registered under the Irby Ship Co. Ltd. (trading as J. Joyce) in Liverpool. In 1912 Galgate Co. Ltd owned her. She traded between London, England and Australia, and is recorded as being in Melbourne and Hobart. In 1919 the Irby was destroyed by a mine when on her way to England. Or perhaps her name and the inscription in pencil “980/Regency” on the Eagle Rock Warrnambool, painting could be a delivery address for the paintings, perhaps an apartment in a hotel. This painting is significant geographically for its representation of the coastal scenery of Victoria, Australia. It is also significant as one of a pair of paintings of seascape, one at sites each side of Port Phillip Bay. The painting is significant historically as an example of late 19th and early 20th methods and materials used to construct a painting’s frame. Painting oil on board in a dark wooden frame, portrait orientation. Seascape of rock formation and cliffs, two yachts, a two-masted steamboat with red funnel and smoke, flying birds, high waves breaking onto rocks, blue sky with clouds, some tinted pink.. The title is painted on lower left corner and the artist, W. Langley-Taylor, has signed his name on lower right. The inscription on the back is a handwritten script in red crayon or thick red pencil. The board is held in place inside the timber frame with small, dark metal tacks around all sides. Metal eyes join the wire to the frame. Small round, dark metal nail heads are dispersed around the frame and there is a change of colour on both the board and the wood of the frame. Painted on front “W.LANGLEY-TAYLOR.” and “EAGLE ROCK, WARRNAMBOOL, VIC.” Handwritten on back “Mrs. M. Irby” and “980 [underlined] Regency”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, eagle rock warrnambool, w. langley-taylor, oil painting, wall decoration, seascape of victoria's coast, mrs m irby, art, seascape, pair of paintings

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of females in various landscapes. The top half of the work features the ocean, coastline and breaking waves. Super imposed on this are images of: five seagulls; a blue portrait of a female face; and a female torso and head. In the centre of the work a female stands looking towards a house and the ocean in the distance. The lowest section of the work features the image of a female face in a blue and orange rectangle. To the left of her is a twig.Front: 14/16 Bridgewater Bay. Catherine Taylor '83 Back: 42

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of four seagulls on a blue, orange and yellow diamond-shaped grid. The seagulls are created through black outline and shading. Seagulls are in various poses, all with wings extended. The grid alternates from blue diamond shapes to those which fade from orange at the top to yellow at the bottom. The grid is surrounded by a blue and white cloud-like border.Front: 12/20 Cape Nelson at Sunset. Catherine Taylor Back: 43

William Taylor was one of the original white settlers in the area around modern day Keilor. He had a large amount of land and ran sheep in the area. Taylors Lake and Taylors Creek now bear his name. Figure of local historical significanceMarble bust on pedestalInscription on plinthwilliam taylor

Photos are stored with a letter by Mrs E.V. Pullin, President Ringwood Historical Research Group Inc, dated 19 July 1988.Photograph of four people looking at floral display. L-R Hartley Taylor - President Ringwood Garden Club, Bob Flower - Waverley Garden Club, two ladies (perhaps from Waverley Garden Club, perhaps judges). +Additional Keywords: Taylor, Hartley / Flower, Bob / Pullin, Mrs E.V. / Lindsay, Mr J. / Cole, Gretta / Cole, Alex / McDonnell, Capt. Ralph

This image is one of a series of photographs taken by Melbourne based photographers Stevenson and McNicoll who visited Bacchus Marsh and its nearby districts between September and November 1883. George Taylor was in business in Bacchus Marsh from 1866. He built these premises in Main Street in 1868 and remained in business until 1888 when Samuel Painter brought the property and operated his own saddlery business. The location was later used for the State Savings Bank of Victoria and the Bank of New South Wales (Westpac). The location of this site in 2024 is 136 Main Street, Bacchus Marsh.Small sepia 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'. The image shows a single storey timber building with a pitched roof. The front of the gable has an ornamental wooden fretwork design attached.The name 'Taylor' can be clearly seen above the front door. There is one large window. The roof appears to be slate and the building has one chimney. Outhouses can be seen to the left and right of the building. There is a picket fence to one side of the building and a post-and-rail fence to the other.Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, saddleries, saddlers

Wooden shipwright's chest . Dovetailed joints. Red & yellow.B R Taylor

Black and white photographic image of Sir Charles Kingsford-Smith and Captain P. Taylor after completing the las leg of a 7365 mile flight to California ahead of schedule.aeroplane, aviation, flight, charles kingsford smith, p.g. taylor, southern cross

Part of a group of photographs copied from the collection of Dot Jewell of Montmorency. This photograph is labeled and shows the Taylor family at Mayfield Street 1944 - Noella, Mrs Taylor, Diane and Louise.Digital copy of black and white photograph. Photograph is labelled.dot jewell, diane taylor, louise taylor, noella taylor, taylor family, mayfield street

On 9th April 1921 Gertrude Jane Goad Married Walter Taylor at St Andrew's Kirk, Presbyterian Church Ballarat.The best man was Walter's brother George Taylor and the bridesmaid Ada Hannah Grigg. Gertrude Jane Goad and Walter Taylor lived in Dean,and are buried in the Creswick Cemetary. The Goad family have long connections in the Learmonth area.Black and white photo of the marriage of Gertrude Jane Goad to Walter Taylor.Set in Gold frame 4 1/2 cms wide and decorated with trailing flowers, originally on cream mount now redone with maroon mount. Richards & Co. Ballarat.ballarat, church, goad gertrude jane, taylor walter, st andrew s kirk, prebyterian

Memorial Card Mrs David Taylor 1897stawell

This book includes the classic poem ‘Rime of the Ancient Mariner’ by Samuel Taylor Coleridge, the lines of which are set out in twelve pages of double columns. Each section of the poem is titled, such as 'Part the Sixth'. The twenty lithographed line drawings by J. Noel Paton RSA illustrate major events of the story and repeat the applicable verse below them. Most of the drawings have the initials of the artist and the lithographer on the bottom corners, below which are printed their names. The margins of the poem contain printed author's notes. Interestingly, the printer's name is added as a footnote on page 12, at the end of the poem. The book is included in the Rare Books collection of Flagstaff Hill. Its description closely matches one of two copies of the book held by the British Museum. There have been other publications of Coleridge’s poem over the years, based on various editions of his poem and illustrated by other artists. When this book was first published, Paton’s illustrations were available individually for the public to purchase. The author, Samuel Taylor Coleridge (1772-1834), was a notable late 18th to early 19th century English poet. He was the youngest of fourteen children. His father was a vicar as well as the master of a grammar school, with Samuel attended. Coleridge's longest poem, 'Rime of the Ancient Mariner', was written about 1797-1798 and tells of the experiences and adventures of a sailor. It was included in a collection of poetry titled 'Lyrical Ballads', jointly written with his friend William Wordsworth. The volume is considered the beginning of the Romantic era of British poetry. Coleridge acknowledges William Wordsworth in this poem, in ‘Part the Forth’ with the footnote “For the two left lines of this stanza, I am indebted to Mr Wordsworth. It was on a delightful walk from Nether Stowey to Dulverton, with him and his sister, in the autumn of 1797, that this poem was planned, and in part composed”. Sir Joseph Noel Paton RSA (1821-1901) is a well-known Scottish-born artist and painter of historical artwork, created the line illustrations in 1863, highlighting the main points of the poem. In the same year he also illustrated Charles Kingsley's 'Water Babies'. He was appointed Queen’s Limner for Scotland from 1866. The book was published in 1863 by the Art Union of London, an organisation whose members paid an annual subscription, and who received an annual prize of a work of art. The organisation was established in 1837 and membership quickly grew until the 1870's. Membership then slowly dropped off until the organisation was would up in 1912. Lithographer William Husband McFarlane, of Edinburgh, Scotland, created the black and white lithograph outlines from Paton’s drawings, illustrating many of the lines of the poem. The book of poetry and Illustrations was then printed by Neill & Company, Edinburgh, in 1763. The company was formed by Patrick Neill in 176. The company was known for inventing one of the early mechanical typesetting machines, which was used for the Company's publications as well as sold to other companies even into the early 1900s. The firm continued in business until 1973. This copy of the book was presented to Emily Taylor Smith by her father on September 16, 1867, four years after it was published. There is no further information available about Emily at this point in time.This Victorian era book of poetry with illustrated prints, the 'Rime of the Ancient Mariner' by Samuel Taylor Coleridge, is considered to be a rare book. The British Museum holds two copies, one of which is very similar in description. The book is significant for containing a poem written by the renowned British poet Samuel Coleridge, who acknowledges the contribution of a couple of the lines to his friend William Wordsworth. The book's significance is increased for being included in a collection of poetical works jointly written by Coleridge and his friend William Wordsworth, entitled 'Lyrical Ballads' and published in 1797. The printer of the book, Neill & Company, was known for pioneering an early mechanical typesetting machine. It’s significance also includes the collection of Victorian artwork within. Coleridge's poem is significant for being included in 'Lyrical Ballads', which is considered to signify the beginning of the Romantic era of British poetry. Book: large, burgundy linen covered, hard cover, with gold embossed title and images, landscape orientation. Title: Coleridge's Rime of the Ancient Mariner. Author: Samuel Taylor Coleridge Illustrator: J. Noel Paton, R.S.A. Publisher: Art-Union of London in 1863. Lithographer: W.H. McFarlane in Edinburgh, Scotland, 1863. Printer: Neill & Company, Edinburgh, Scotland Contents include the lines of a poem, with lithograph illustrations above applicable short verse. The cover and fly page have the same emblems. A personal inscription is hand written in nib pen inside the book.Printed: "COLERIDGE'S RIME OF THE ANCIENT MARINER" "ILLUSTRATED BY J. NOEL PATON, R.S.A." "ART-UNION OF LONDON, 1863" " W.H. McFARLANE, LITHOGr, EDINBURGH" "Printed by Neill & Company, Edingurgh" Emblems embossed on cover, and a repeat printed on fly page, include stars encircling a crucifix and a snake entwined around a cross bow with a branch in its mouth.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, coleridge's rime of the ancient mariner, rime of the ancient mariner, ancient mariner, samuel coleridge, j. noel paton, art-union of london, 1863, rare book, samuel taylor coleridge, art union of london, w.h. mcfarlane, william husband macfarlane, sir joseph noel paton, poem, emily taylor smith, 1867, romantic period, william wordsworth, lithograph, poetry, lyrical ballads, british romantic movement, literary work, neill & company edinburgh, j. noel paton rsa, mechanical typesetting, alexander neill fraser, mechanical typesetting machine

Sports Clubs in Kew in the final decades of the 19th century and in the early 20th century were often umbrella organisations with facilities for a number of sports. Typically in Kew, this included teams in lawn bowls, tennis and croquet. The Kew Bowling Club was formed in 1880 while the privately owned Auburn Heights Recreation Club was opened in 1904. By 1998, the two Clubs decided to amalgamate at the Auburn Heights site in Barkers Road, forming the Kew Heights Sports Club. The combined club was itself taken over by the Melbourne Cricket Club in 2012 becoming MCC Kew Sports Club. In 2017 MCC Kew closed and its landholding was subsequently sold to Carey Baptist Grammar School. Both the Kew and Auburn Heights Clubs assembled important collections. These historically significant and large collections were donated to the Society in 2020. The collections include manuscripts, pictures, trophies, plans, honour boards etc. References Barnard FGA 1910, 'Sports and Pastimes' in Jubilee History of Kew Victoria: Its origin & progress 1803-1910. Nixon NV 1980, The History of the Kew Bowling Club 1880-1980. Reeve S 2012, City of Boroondara: Thematic Environmental History, p.216.The combined collections of the four sporting clubs making up the collection number hundreds of items that are historically significant locally. They are also significant to the sporting history of the greater Melbourne area and to the sports of lawn bowls and tennis in Australia in the 19th and 20th centuries. The collection illuminates two of the Victorian historic themes - 'Building community life' through forming community organisations and 'Shaping cultural and creative life' by participating in sport and recreation.Framed and glazed photograph of the VBA Pairs Championship 1934-35, A. Bruce, A. D. Taylor. [The item is part of the historic Kew Bowling Club collection (1880-1988) gifted to the Kew Historical Society in 2020].kew bowling club - wellington street - kew (vic), clubs - lawn bowls - kew (vic)

J.D. Thomas – Taylor & Outfitter. 3 photos of Building Cellarstawell

Photograph of Bob Maurer and Barry Taylor at Greensborough Tennis Club (mid 1960s).Digital copy of black and white photograph.Photograph is named on back.greensborough tennis club, bob maurer, barry taylor

The Grave of Christina Taylor (died 08/03/1914), St Helena Cemetery.St Helena Cemetery was originally the burial place of the Beale family and friends. The first burials took place in the 1850s. There are now over 200 burials.Digital copy of colour photograph (grave)st helena cemetery, christina taylor, taylor family

People - The Taylors (Connection Mackenzie Clan) Buildings - West Of Orr St.Opposite Mansions

Third building for Weighbridge in Taylor Street. Used until late 1994. Three colour photographs.stawell transport

Wimmera Flour Mills and Grain Store Taylor Street From Sketch series Circa 1890stawell businesses