The remains of the 180 mine battery as painted by Alfred Perry in 1959. This is a watercolour and indian ink sketch on card. Yellow card attached with painting states: ' George Lansell Exhibit No 4. The remains of the 180 mine battery as painted by Alfred Perry in 1959. It was from the 180 that George Lansell laid the foundations of his fortune and indeed the fortunes of the district. With his capital behind the field mining flourished for nearly one hundred years and ensured employment for the many miners in the district.'Alfred Perryartwork, print, mining heritage, alfred perry, mining battery, 180 mine, victoria hill

The owner of the 'Autograph' book was Mary Alys (Gipps) Kirkland, the daughter of Richard Brook Woodthorpe Gipps (c.1872-1946). The family had migrated from Great Britain to Coorparoo, Brisbane, where most of the items in the album were created. In June 1925, The [Brisbane] Telegraph reported the wedding of Richard Gipps to Mary Alys Kirkland at Elvaston, The Righi, South Yarra. The bride, like the groom, was originally from Queensland, but at the time of her marriage lived with her parents at 21 The Righi. The album passed to their daughter Rosemary Alison (Gipps) Vaughan-Smith, and thence by donation to the collection of the Kew Historical Society. While the signatures are interesting, they are not rare. Rather it is the illustrations that dazzle with the surety of their design and execution. In the portraits, one can recognise the debt that Edwardian art and design owed to the Pre-Raphaelites whose serene and poised idealisations of women are exemplified in the drawings, albeit simplified for a new 20th century sensibility. Typical, is a very early portrait from 1906 of Mary Alys Kirkland by a 20-year-old Garnet Agnew (1886-1951). Agnew later became an illustrator for The Brisbane Courier and The Queenslander Illustrated Weekly, creating cover illustrations for these publications between 1926 and 1930. Another pen and ink portrait of Mary Alys Kirkland was created in 1910 by Augusta Frances Isabel Hobday (1884-1961). Augusta, with her brother and sister, Percy Stanhope Hobday and Gladys Hobday, were artists and teachers. Each was involved for many years in the Queensland Art Society. While the album has historic, aesthetic and social significance to Brisbane’s history, as a document, its preoccupations have a wider Australian relevance and importance. Compiled between 1905 and 1922, the 'Autograph' book has considerable aesthetic coherence, even though drawings and text are by different hands. Together, it provides a vivid depiction of social life and values in Brisbane in the period preceding the First World War. Like other autograph albums of the period, it is a compilation of pen and ink sketches, watercolours, quotations, poems, aphorisms and signatures. Most entries are from Queensland, particularly Coorparoo in Brisbane; friends and acquaintances from other Australian States also contributed items. The autograph album predictably contains numerous mementoes of the notable and the forgotten. It includes the signatures of the British contralto Dame Clara Butt (1872-1936) her husband, the baritone R. H. Kennerley Rumford (1870-1957), and that of the Australian actress and singer Nellie Stewart (1858-1931). autograph albums, manuscripts - kew historical society, rosemary vaughan-smith, vaughan-smith collection, dame clara butt, garnet andrew, augusta frances isabel hobday, coorparoo - brisbane, nellie stewart, mary alys kirkland, mary alys gipps (nee kirkland)

The photograph shows the popular tourist attraction, Loch Ard Gorge, which is located along the Great Ocean Road in Victoria, near Port Campbell. The gorge is named after the famous sailing ship, the LOCH ARD, that was wrecked there in 1878. Only two of the 54 passengers and crew survived. FOYLE “Foyle” written on the photograph is the name of Foyle’s Photographic studio. At the time of the photograph, the studio was owned by both Charles and Lilian Foyle (sometimes known as Lillian or Lily), either of whom could have taken this photograph. They also worked together at a later date on the photographs, sketches and paintings of the famous and historical Pioneers’ Honour Board, which is currently on view in the Warrnambool Library. Foyles Photography was the studio of James Charles Foyle. He owned “Foyle’s Photo Card Studios” in Liebig St, Warrnambool, which operated between 1889 – 1919. A letter to the editor (by Mr Edward Vidler) in the Melbourne Argus, 3rd August 1907, mentions that in that year Warrnambool would celebrate the 60th anniversary of its proclamation as a town, and that talented local artist Miss Lily Foyle would paint 200 portraits in watercolour of the pioneers who settled in the district prior to 1860. The Pioneer Honour Board can still be seen on display in the Warrnambool Library. In the Warrnambool Standard, Dec. 1917, “Mr Foyle’s studio was awarded the contract to decorate rail cars on newly opened Trans-Continental railway, assisted by his sister, Miss Findlay.” HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built-in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square-rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29-year-old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3 am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke and opened the case of brandy, which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged, and some of it was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register.Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history. Foyle's photographs date from the late 19th century to the early 20th century, representing a time of growth in the Warrnambool district and a time when the still relatively new technology of photography was more available to the community.Photograph of Loch Ard Gorge. This sepia coloured rectangular photograph is mounted on a brown cardboard backing that has a wood grain pattern. The photograph has an inscription above it, below it, and in the bottom left corner. It was made for the purpose of a presentation by the Port Campbell Progress Association. Printed above the photograph "PRESENTED BY THE PORT CAMPBELL / PROGRESS ASSOCIATION". Printed below the photograph "LOCH ARD GORGE / PORT CAMPBELL". Hand written on bottom left corner "Foyle". flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, photograph, port campbell, port campbell progress association, foyle photograph, foyle photographic studio warrnambool, warrnambool photo studio

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Pencil drawing with cardboard border in glass-fronted frame.

"THE/ WAR DIARIES/ OF/ WEARY DUNLOP/ JAVA AND THE BURMA - THAILAND RAILWAY 1942 - 1945" Book - item in the collection of Richard William McGILVERY, RAAF. Refer Cat. No. 7287P for his service details, photo, awards, HARD COVER BOOK WITH DUST COVER. Hard cover - cardboard with adhered red buckram, gold print on spine. Dust cover - paper, white print on front, spine and back on red background. Folded flaps with black print on beige background. Illustrated - front - colour seated portrait of Sir Edward Dunlop. Back - copy in colour of watercolour painting of "Weary Dunlop" operating in a jungle hospital by "Jack Chalker". 401 pages - cut, plain, off white paper. Illustrated black and white photographs and sketches.history, books, ww2, autobiography

The Changi Museum is a museum dedicated to Singapore's history during the Second World War. The original chapel has been re-erected at Duntroon Military Academy and is on public display as a memorial to the P.O.W's In 1988, Singapore built a replica Chapel and Museum next to the Changi Prison. When Changi Prison was expanded in 2001, the Chapel and Museum was relocated to a new site 1 km away and the Changi Chapel and Museum was officially established on 15 February 2001. Bernard Stogden, the son of Sgt. Harry Stogden, was invited to place the cross that his father made onto the wreathed altar in the new Chapel. He was claimed to have cried while doing so, as this was one of the only chances he got to interact with his father(through his work) as "Harry" Stogden died during the war. The Museum has a collection of paintings, photographs and personal effects donated by former POWs. Among the collection is a series of paintings and sketches by a POW named William Haxworth which provide valuable insight on the daily life of the internees during the occupation. In 1986, Haxworth's wife donated a collection of over 400 paintings and sketches to the National Archives of Singapore. Also in the museum is a collection of watercolour paintings by Mary Angela Bateman who was among the thousands of women and children held at Changi Prison for more than three years during the war.[1]Poster produced by Australian War Memorial detailing the history of The Changi Chapel Framedchangi, changi chapel, changi history

Framed behind Glass. Pen, ink, watercolour original drawingNight at Mersa Mutrah written bottom Right. T Meagher signature bottom Left.

The photograph shows the wreck of La Bella in Lady Bay, Warrnambool, Australia. It was probably taken on 11th November 1905, the morning after she was wrecked. “Foyle” written on the photograph is the name of Foyle’s Photographic studio. At the time of the photograph the studio was owned by both Charles and Lilian Foyle (sometimes known as Lillian or Lily), either of whom could have taken this photograph. They also worked together at a later date on the photographs, sketches and paintings of the famous and historical Pioneers’ Honour Board, which is currently on view in the Warrnambool Library. Foyles Photography was the studio of James Charles Foyle. He owned “Foyle’s Photo Card Studios” in Liebig St , Warrnambool, which operated between 1889 – 1919 . A letter to the editor (by Mr Edward Vidler) in the Melbourne Argus, 3rd August, 1907, mentions that in that year Warrnambool would celebrate its 60th anniversary of its proclamation as a town, and that talented local artist Miss Lily Foyle would paint 200 portraits in watercolour of the pioneers who settled in the district prior to 1860. The Pioneer Honour Board can still be seen on display in the Warrnambool Library. In the Warrnambool Standard, Dec. 1917, “Mr Foyle’s studio was awarded contract to decorate rail cars on newly opened Trans-Continental railway, assisted by his sister, Miss Findlay.” The subject of the painting, La Bella, has its own tragic story. Read on for further details … On November 10th, 1905, the Norwegian-built barquentine La Bella approached Warrnambool at the end of her 37 day voyage. She was carrying a cargo of timber from Lyttleton, New Zealand, in heavy seas and evening mist. (On its only other visit to Warrnambool a year earlier the master had gone to shore to find a tow. He returned to the ship to find the crew drunk and unwilling to take up their posts, even though the ship was dragging its anchors and in a dangerous position.) As Captain Mylius steered La Bella to Lady Bay Channel the ship was tossed onto its side by heavy breakers and ran aground on what is now known as La Bella Reef. The sea was so rough that it wrenched a one-and-a- half ton anchor from the vessel. Several attempts were made by parties of volunteers in lifeboats to rescue the stricken sailors, but the rough conditions made this difficult for the boats to get close enough to the ship and the parties had to return to shore. The La Bella’s crew became exhausted and sailors were being washed overboard, one by one. By sunrise only five of the twelve crew still clung to the wreck. A local fisherman, 25 year old William Ferrier, rowed his small dingy through the heavy seas and managed to rescue the captain, whilst the volunteer lifeboat crew rescued a further three sailors, returning to shore. Ferrier made a final attempt at rescue and was able to reach its stern as the conditions eased slightly, saving the last remaining, terrified sailor just before the ship broke up and sank. William Ferrier became a national hero as news of the daring rescue spread. He was awarded the Silver Medal for bravery by the Royal Humane Society and was honoured by the Prime Minister and the Governor. He was presented with several other awards for his daring rescue. Ferrier’s rescue efforts are one of the most heroic in Victoria’s shipwreck history. The wreck now lies in 13m of water and is home to an abundance of marine life. Flagstaff Hill’s La Bella Collection includes a rail holder from La Bella, a photograph of William Ferrier with four of the five men rescued, a rail holder from the ship and the letter from the Prime Minister and other Members of Parliament that was sent to William Ferrier to commend him for his bravery. La Bella has been protected under the Commonwealth Historic Shipwrecks Act (1976) as a Historic Shipwreck since 23 April 1982 (VHR S401). It is archaeologically significant as the remains of an international and inter-colonial passenger and cargo ship. Flagstaff Hill’s collection of artefacts from the La Bella is of historical and archaeological significance because of its association with the La Bella, which is on the Victorian Heritage Register, and because of the relationship between the objects. The collection represents aspects of Victorian history, and the letter to William Ferrier demonstrates how important his rescue efforts were to Victoria and Australia. Black and white photograph of the wreck of the sailing ship La Bella in the bay at Warrnambool. The photograph shows the ship lying on its side in rough sea, with mast and rope rigging hanging loosely. Several large rocks are also visible. The photograph is a rectangle shape, mounted on heavy card, with slightly ragged edges. The photographer’s name, a title for the photograph and the location are hand written in white along the bottom third of the photograph. The back of the photograph is blank. Printed in white hand writing “Foyle”, “WRECK OF “LA BELLA”, “W’Bool”foyle, la bella, william ferrier, lady bay, lifeboats, lilian foyle, lillian foyle, charles foyle, james foyle, royal humane society medal, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village

Alice Watson completed a course of work at the Ballarat Technical Art School, a division of the Ballarat School of Mines. Her complete folio is held by Federation University Australia. Ten works were undertaken at the Ballarat Technical Art School by Edith Alice (Alice) Watson. All paintings are of various flowers painted in watercolour. .1 is incomplete with the vase sketched in pencil; .3 has pencil sketches on the reverse side .6 .7 and .8 are still life paintings.1 urs embossed stamp " RWS Pall Mall East Guaranteed Pure Paper " with the letters "RS" in pencil; .2 lrs "A. WATSON 3rd TERM 1931 .4 upper top verso "Pass. Good tones values in red flower. Also color, one not overworked.Yellow flower rather faulty tone, but direct work. Very promising."ballarat technical art school, ballarat technical art school number 10, ballarat school of mines, alice watson, edith alice watson, artwork, lettering, flora, flowers, alumni

Neville Mirvane Bunning was born in Rockhampton, Queensland in 1902. He was home taught until 1916 and then was a boarder at Geelong Grammar School, Victoria until 1921. He then returned to Queensland and worked on the family property. During this time he built ceramic kilns and taught himself the required skills for ceramiic production. During the Depression he went to Sydney and set up an artist's studio. In 1934 he went to England and studied, wrote and did commission work. Achieving local success and had work acquired by the Victoria and Albert Museum. Neville returned to Australia and became a lecturer at East Sydney Technical School until the outbreak of the Second World War. He joined the RAAF. After the War he joined the staff of the Art School of the Ballarat School of Mines and Industries until his retirement in 1964. Neville Bunning formed the Ballarat Artist's Society, a group which sponsored art and invite guests to speak to students and the public of Ballarat. He wrote a weekly column in "The Courier", the local newspaper where he encouraged people to be more aware of the trends in art. His works were included in the 1988 Australian Bicentennial Exhibition. His sympathetic understanding of Aboriginal culture is recorded in a letter written in 1937 to the Victoria and Albert Museum. Neville Bunning continued painting during his retirement. His last major exhibition was held at the Golden Age Gallery in Ballarat in 1983. The sketch books cover a range of topics using pen, ink and watercolour.28 A3 sketch books, spiral boundneville bunning, queensland, geelong grammar school, ceramics, kilns, depression, sydney, england, commission work, victoria and albert museum, east sydney technical school, art school, ballarat school of mines and industries, ballarat artist's society, second world war, raaf, australian bicentennial exhibition, golden age gallery ballarat, painting

Brian Cleveland taught art to Swinburne students from the 1970s to 1990s and sketched and recorded iconic areas of the city that were scheduled to vanish or be seriously altered. The Port Melbourne drawings were predominantly done in the 1990sSeventy-two (72)) pencil drawings (some with watercolour washes) by Brian Cleveland. Sites include: Centenary Bridge (including demolition) ; ships ; Princes Pier ; Station Pier ; structures and cranes on piers ; cable tram sheds ; London Hotel ; foreshore views ; Beacons (leading lights) ; kiosks ; Missions to Seamen building: railway stations.built environment, built environment - civic, piers and wharves - princes pier, piers and wharves - station pier, engineering - bridges, brian cleveland, centenary bridge, missions to seamen

A remarkable, thoroughly researched and detailed record of "Dunera" internee artists with examples of their varied styles of water and colour paintings, sketches and cartoons. Vivid reminders of the whole experience of internment in Australia during World War 2 for these men. Launched at the Jewish Museum in St Kilda, Sunday July 8th and Monday July 9th at Readings Books in Melbourne.Visual history of camp life of the Dunera boysBlue soft cover, with front cover painting by Emil Wittenberg. Painted at Tatura on 23rd May 1941, depicts a group of Dunera internees behind barbed wire. B/W and colour photos, sketches, paintings and watercolour.To the memory of Amirah Inglis. A photograph of Kenneth Stanley Inglis, 7 October 1929 - 1 December 2017dunera boys

sketch of jp davis, garrison member, camp 3

Cyril Leyshon White was an official war artist and served with the Field Ambulance during the Gallipoli Campaign in WWI. He contributed a number of his sketches for “The ANZAC Book". After WWI he became a mentor to the young Sydney Nolan. Lt. White was a member of the 17th Garrison battalion attached to Tatura Camp 1. Leyshon White

Cyril Leyshon White was an official war artist during the Gallipoli Campaign in WWI. He contributed a number of his sketches for “The ANZAC Book". After WWI he became a mentor to the young Sydney Nolan. Lt. White was a member of the 17th Garrison battalion attached to Tatura Camp 1. Landscape. A house with veranda and outbuildings surrounded by a wooden fence. Two bushy green trees partially hide the house with another blue-grey tree at right of picture. The buildings sit on a brown hill with blue-brown hills in the distance. The sky is blue with large s. Gold frame with beige matt behind glass.

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003.Annette Meikle, Sandringham Yacht Club 1977, ink and watercolour, 35.9 x 25.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, sandringham yacht club, yacht club, yacht, bay, port phillip bay

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003.Annette Meikle, Coastline and Red Bluff 1977, ink and watercolour, 25.9 x 25.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, bay, port phillip bay, coastline and red bluff, red bluff cliffs, coast

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. Charles Keefer established this landmark boat hire business in the early twentieth century, shortly after he had built municipal baths at Beaumaris. The original boat shed was damaged in a storm in 1934 and burned down in 1984.Annette Meikle, Keefer's boat shed 1977, ink and watercolour, 33 x 53.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, port phillip bay, coastline, beaumaris, keefer's, keefer's boat shed, jetty, boat shed

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003.Annette Meikle, Horse-drawn tram 1977, ink and watercolour, 35 x 23.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, horse-drawn tram, tram, public transport, horse, beaumaris tramway company

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003.Annette Meikle, Beaumaris Hotel 1977, ink and watercolour, 35.9 x 25.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, beaumaris hotel, beaumaris, hotel, pub, architecture

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. Built in 1891 for Captain Murray to his own design, ‘Shenval’ originally stood on five acres fronting Bluff Road, Black Rock.Annette Meikle, Shenval 1977, ink and watercolour, 33 x 23.5 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, black rock, architecture, historic house, shenval, captain murray, bluff road, verandah

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. This red brick building in Balcombe Road, Black Rock, was constructed in the inter-war period (1939) as a holiday home for State wards and neglected children who were placed in the care of the Sisters of Mercy.Annette Meikle, St Vincent de Paul's Children's Home 1977, ink and watercolour, 35.7 x 25.6 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, st vincent de paul's children's home, balcombe road, black rock, sisters of mercy

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. All Souls Memorial Church, located at 48 Bay Road, Sandringham, is believed to be the first reinforced concrete church in Australia. The foundation stone laid on 7 September 1919 and was consecrated in December 1921, the church seats 350 and contains an organ loft, a marble chancel floor, and Australian hardwood pulpit and pews.Annette Meikle, Church of England 1977, ink and watercolour, 35.6 x 25 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, all souls memorial church, church, building, architecture, bay road, sandringham, church of england

In 1977, artist Annette Meikle undertook a commission to illustrate a book recording stories of places and people in the Bayside area. It was published in 1978 as Sandringham Sketchbook, with text by Elizabeth Waters. The sketches were intended to record remaining examples of Bayside’s early architecture and environment, as well as reflect newer architectural changes. Meikle went on to donate 22 of these sketches to Bayside City Council in 2003. ‘Hollyburton’ was built in 1908 by the Honourable JV Fairbairn MHR and is notable for its Australian-style arts and crafts detailing. Located on Fernhill Road, Sandringham, it covered 930 square metres and included a servants’ wing.Annette Meikle, Hollyburton 1977, ink and watercolour, 25.8 x 35.6 cm. Bayside City Council Art and Heritage Collection. Donated by the artist, 2003annette meikle, sandringham sketchbook, elizabeth waters, hollyburton, honourable jv fairbairn mhr, arts and crafts, architecture, historic house, fernhill road, sandringham