At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Dight’s Falls in Studley Park is an artificial weir built on a natural rock bar across the Yarra. The weir was built in the 1840s to provide water to the ‘Ceres’ flour mill, one of the earliest industrial sites in Melbourne. The falls were later to be named after the owner of this mill. In 1888, William Guilfoyle, Director of the Melbourne Botanical Gardens had called for fresh water to be piped from above the weir to the Botanical Gardens, using a pumping station on the Kew side of the Falls, a holding reservoir in Walmer Street and a series of pipes from there to the Gardens. This system was opened in May 1891. Farquhar’s photograph of the man-made weir obscures the industrial activity on both sides of the Falls and focusses solely on the river and the surrounding natural vegetation. The photograph probably predates the disastrous flooding of the Yarra River in July 1891, the greatest to have occurred in the Colony since the foundation of Melbourne.Dight's Fallskew illustrated, kew where we live, photographic books, henry kellett, yarra river

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Hyde Park is now a small recreation reserve bordered by Willsmere and Kilby Roads and White Avenue. In 1982, Hyde Park was cut off from the Yarra River by the construction of the Eastern Freeway. The building of the latter was to transform the natural landscape, including the Yarra, as well as Hyde Park. The construction of the Freeway makes it difficult to view the scene with the photographer’s eye. Today’s Hyde Park is located on land purchased in 1847 by John Cowell, and in 1851 Catherine Cowell, yet the scene selected by the photographer may well have been located on farmland owned by the Wills family. Farquhar’s point-of-view emphasises both the pastoral and recreational elements of the scene: the grazing cows, three boys, and in the distance two figures, seated on the bank with a parasol. By 1891, an environmental consequence of human activity, including farming, was deforestation, leading to the erosion of the south bank of the Yarra. In contrast, the land on the Alphington side of the river in 1891 included remnant bushland.The Yarra in Hyde Parkkew illustrated, kew where we live, photographic books, henry kellett, yarra river

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.A unique Illustrated book, comprising a series of twelve plates of panoramic and landscape photographs of Kew, commissioned from the Melbourne (and Kew) photographer JFC Farquhar, by the Kew stationer Henry Kellett. The book was published in 1891, so it is presumed that the photographs provided by Farquhar were taken in 1891 or in the previous year. Photographs from the cloth bound book were offered by Kellett for sale separately; hence a number are in public collections. The book is in very poor condition, the leaves having separated from the spine. The cover is suffering from red rot while the mounts of each book plate are dirty and frequently suffering from foxing. The actual silver albumen plates variably suffer from foxing and iridescence caused by the deterioration resulting from the photographic process. Each part of the book can be viewed in this record in sequential format.KEW WHERE WE LIVE / KEW ILLUSTRATED / THE ACCOMPANYING ILLUSTRATIONS ARE PHOTOGRAPHIC VIEWS OF KEW AND ITS SURROUNDINGS, EXECUTED BY THE "ARGENTIC BROMIDE PROCESS", WHICH ENSURES ABSOLUTE PERMANENCY OF THE PHOTOGRAPH. IN A FEW YEARS HENCE WHEN MOST OF THE OLD LANDMARKS WILL HAVE DISAPPEARED THESE VIEWS WILL BE A VALUABLE MEMENTO OF KEW AS IT WAS IN 1891. ANY OF THESE ILLUSTRATIONS GAN BE OBTAINED FROM MR. H. KELLETT, HIGH STREET, KEW, IN SINGLE COPIES, IN THE SAME SIZE AS THOSE HEREIN AT 2s PER COPY. THEY MAY ALSO BE OBTAINED IN THE FOLLOWING SIZES FOR FRAMING:- / ACTUAL SIZE OF PHOTOGRAPH 15 INCHES X 12 INCHES @ 8. 6d EACH / 22 INCHES X 16 INCHES @ 15s EACH / PRIVATE RESIDENCES AND ESTATES / SPECIAL ARRANGEMENTS CAN BE MADE FOR TAKING VIEWS OF PRIVATE RESIDENCES - INTERIOR AND EXTERIOR - AND FOR GROUPS, &C., IN ANY SIZE UP TO 40 INCHES BY 30 INCHES BY THE "ARGENTIC BROMIDE" PROCESS UPON APPLICATION TO / MR H. KELLETT / HIGH STREET, KEW.kew illustrated, kew where we live, photographic books, henry kellett, jfc farquhar - photographer

The Heidelberg School Artists Trail was established in about 1999 with about 52 signs across four local governemnt areas including Nillumbik and Banyule. This one located in Wingrove Park Eltham pays tribute to Walter Withers and his painting "The Silent Guns" Transcription of sign: Walter Withers – The Silent Gums, 1909 Walter Withers painted this tranquil pastoral scene in the vicinity this park. Here he has captured the dairy cattle belonging to local Eltham farmer, Mr. Tom Orr, feeding and resting in the shade of the tall Manna gums. Wither’s daughter, Nan recalled how her father, for inspiration, often visited the property of their neighbour, Mr. Tom Orr, and in his later years, Withers painted many landscapes depicting Mr Orr’s sheep and dairy cattle. Heritage Excursion by EDHS Members - An Eltham South Ramble, 2 Sep 2017Born Digitalactivities, eltham district historical society, eltham south, heritage excursion, local history centre, walter withers, heidelberg artists' trail, wingrove park trail, the silent gums

The word ashtray came into use around the 1920 and is a receptacle for ash from cigarettes and cigars and are typically made of fire retardant material such as glass, heat resistant plastic, pottery, metal, or stone. The most common ashtray design is a shallow cylinder with a flat base, designed to rest on a table. Other ashtrays, particularly in public places, are either wall or floor mounted. While simple, utilitarian forms of ashtrays existed long before the 19th century, it was during the start of the 20th century that the design, aesthetics and their popularity took off. As more women began to smoke. in the early 1900s, the ashtray went closer to being an art form as many women avoided the use of the traditional ashtray as it failed to reflect their feminine values, regarded as an item rather basic in design the general societal through of the time was that smoking was an activity exclusive to men. What emerged were detailed, often very fancy ashtrays acceptable to women depicting either pastoral scenes or vibrantly coloured landscapes. As time went on, and the onset of women smoking both cigars and cigarettes became less of a departure from the average person, ashtrays saw a decline in design and aesthetics beginning more of a shift towards practicality. The subject item is a primitive form of ashtray used in public spaces any time from the 1920-1960s and is not associated with an historic person or event. However the item could have come from the Warrnambool Town Hall given the inscription on the base of the item.Ash tray-large rectangular floor model with cement sheet lining. Made from a wooden box covered with textured metal on the outsideThe metal has a relief design embossed at the top back "smokers" and "Town Hall" printed on bottom.flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ash tray, town hall, cigarette tray, smoker's ash tray

The word ashtray came into use around the 1920 and is a receptacle for ash from cigarettes and cigars and are typically made of fire retardant material such as glass, heat resistant plastic, pottery, metal, or stone. The most common ashtray design is a shallow cylinder with a flat base, designed to rest on a table. Other ashtrays, particularly in public places, are either wall or floor mounted. While simple, utilitarian forms of ashtrays existed long before the 19th century, it was during the start of the 20th century that the design, aesthetics and their popularity took off. As more women began to smoke. in the early 1900s, the ashtray went closer to being an art form as many women avoided the use of the traditional ashtray as it failed to reflect their feminine values, regarded as an item rather basic in design the general societal through of the time was that smoking was an activity exclusive to men. What emerged were detailed, often very fancy ashtrays acceptable to women depicting either pastoral scenes or vibrantly coloured landscapes. As time went on, and the onset of women smoking both cigars and cigarettes became less of a departure from the average person, ashtrays saw a decline in design and aesthetics beginning more of a shift towards practicality. The subject item is a primitive form of ashtray used in public spaces any time from the 1900 -1960s and is not associated with an historic person or event. However the item could have come from the Warrnambool Town Hall given the inscription on the base of the item.Ash tray-large rectangular floor model made from a wooden box covered with textured metal on the outsideThe metal has a relief design embossed at the top back "smokers" and "Town Hall" printed on bottom.flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ash tray

HRH Prince Henry Duke of Gloucester came to Australia in late 1934, and to Victoria in time for the Centenary Celebrations (of pastoral settlement of the Port Phillip District, beginning with the Hentys settlement at Portland Bay on 19 November 1834). From Trove - 20 November 1934 Historic Portland was the scene yesterday of unprecedented celebrations when the Duke of Gloucester arrived from Tasmania to join in festivities marking the beginning of Victoria's second century. A great crowd estimated at more than 60,000 people watched the re-enactment of the landing of Edward Henty, Victoria's first permanent settler, on November 19, 1834.Black and white photograph rows of men in formal dress with white jodhpurs, dark coats and white hats. Five rows in all, with one man at the front. Buildings in the background. Police escort for Duke of Gloucester, Portland, 1934Front: (no inscriptions) Back: Police escort for Duke of Gloucester Portland 1934royal visit, 1934, duke of gloucester

The Ballarat School of Mines was the first school of technical education in Australasia.Double page, double sided, newspaper article from The Weekly Times with 10 images and captions depicting scenes within the School of Mines and Industries, Ballarat Technical Art School and Junior Technical School, Ballarat. Verso: Top Half page: 5 photographs on Callawadda, A pastoral district near Glenorchy Verso Bottom Half page: large photograph of boys attending the Junior technical school at Ballarat Verso Right hand page: 7 "Intersting photographs from England, Scotland and The United StatesSide A: Magazine- Section 8, The Weekley Times, Heading and captions, torn lower left corner to centre, small tears throughout especially left hand side and centre fold, Side B: the weekly times, school of mines and industries, scientific instruments, junior technical school, ballarat, smb, ballarat school of mines, university of ballarat, 1934, callawadda, glenorchy, boys, hutchings, mr j. c. hutchings j.p., state school, bryn avon homestead, broadcasting, mrs hutchings, sheep, xray, cancer treatment, northern belle, loch lomond, oxford college, red lion brewery, aldershot tattoo, siege of namur, battleship, idianapolis battleship, new york, quartz crushing battery, machine shop, pottery, electrical engineering, art department, dressmaking, building, woodwork, assaying, laboratory, architectural drawing, engineering drawing, drawing, assay, drawing from the antique, plaster casts, assay room, ballarat technical art school, bicycles

Medal, silver stating "Jas Kelly" surround by floral design and the further statement "Horsham and Wimmera District Pastoral and Agricultural Society" On the other face is a country scene depicting a horse, bull, sheep and plough.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Diggers & Mining. Life Of The Selectors. Shows picture of 2 men showing large map of New South Wales marked with the new proposed divisions of NSW; West, Central and Eastern. Division between Eastern and Central run up between what may have been the major towns of NSW at the time. Leaving the Western district as pastoral for Homestead Squatters. Markings; Life Of The Selectors 1860 - 1890 Set 432 No. 15. The New Drop-Scene - ''Sydney Bulletin,'' November 10, 1883. Used as a teaching aid.Visual Education Centreeducation, tertiary, goldfields

Four Posts Inn. Glenorchy. Building no longer exists. Located on the site now known as Glenorchy (Victoria). Glenorchy is approximately 20Km from the former Ashen's pastoral run occupied by Dugald McPherson. The Four post Inn was a "Staging Camp" for the police escort route during the transportation of gold by road from Mount Alexander gold fields (Bendigo) to Adelaide South Australia in 1852-53. The police escort is known to have called in at Ashens homestead to visit Dugald McPherson. The Four Post Inn was the scene on the occasion of and encounter between the police escort and bushrangers. At a later date The Four Post Inn was a staging camp for the horse drawn coach service between Stawell and Horsham.stawell

Leonard Vivian Lansell ( 16/10/1888-31/10/1963) was the son of mining magnate, George Lansell. He married Geraldine Orme in 1911. She was the daughter of a NSW grazier. Leonard was very active in Bendigo affairs, including President of the Bendigo Benevolent Asylum, the Bendigo Chamber of Commerce, The School of Mines and the Bendigo Art Gallery. He was also on the board of directors of several mines. As well as his Bendigo commitments, Leonard and Geraldine also ran the "Chah Singh" Station, near Moulamein, NSW. Resulting from this, he was appointed a pastoral inspector in 1929. After retiring to Toorak, the family was heavily involved in the Melbourne social scene. Although Leonard died in Toorak, he chose to be buried in Bendigo.Invoice book, beige cover with black spine. Invoices numbered from 417 to 496 all blank. At top left corner: Phone 999, L.V. Lansell "Chan Singh" Moulamein, Proprietor. At top right: PO Box 16 Thomas & Barker Engineers. "Fortuna", Bendigo, Inglewood Road. Dr. to L.V. Lansell's Engineering works, repairs effected to all kind of machinery, all classes of motor and oxy work done for trade. Interest charged on all overdue accounts.Notes 1-2-52 in blue pen on cover and in pencil 10 pounds change 4-2-52. On the second page in pencil under the heading Herbert a list of various items. On the last to pages a list of businesses with address and a list of items with the prices.business, invoices, l.v. lansell