Depicts ghostly soldiers marching past the Cenotaph in London on Remembrance Day 1928, reproduction.Plaque on frame "The Immortal Shrine / by / Will Longstaff / copyright registered"

Original image was published in the book "Kilmore on Sydney Road"8x10 black and white photograph of 1 Powlett street, former colonial bank of Australasia. corner of Powlett Street and Lancefield Road Copy printed on standard photographic paper Two story light coloured rendered building with blue stone street curbing. Two figures standing outside the door with a third to the right. Picket fence to left and right of building. Printed on the back REPRODUCTIONS RIGHTS RESERVED Copied by State Library of Victoria KOSR - 5 ("Kilmore on the Sydney Road", Chapter 1, Pg.5)powlett street, lancefield road, colonial bank of australasia, 1867, kilmore, bank, the court house hotel, hotel, kilmore on the sydney road

Connections with other photographs of the property.18cm x 13cm black and white reproduction of a photo of the Kilmore Free Press, 5 Sydney Street Kilmore. 6 male figures standing in-front of the building posing for the photograph one of the six is a child. Printed on matte photo stock.newspaper building, kilmore free press, 19th century

This photograph was most likely taken for the 1866 Intercolonial Exhibition in Melbourne.25cm x 20cm black and white reproduction of a photograph of the Oriental Bank Corporation, 7 Sydney Street Kilmore, from the State Library of Victoria. Double storey building with decorative parapet along roofline, wrought iron balconets at upper storey windows, decorative hood molds above windows, name of bank in stone under ground floor cornice, a man standing on path in front of bank. Woman standing at back of building in shadow. A sign on post at back of building reads: Land for Sale Apply to W. Grace Solicitor Kilmore.Printed on back: REPRODUCTION RIGHTS RESERVED Copied by State Library of Victoria Tenders called for erection of this building in March 1864.banks, 19th century

An antique green hardcover Edwin Landseer and Animal Painting in England book - Vere Foster Series with the title printed in gold lettering at the top right hand corner with a large head of a stag with black and brown lines in the bottom left hand corner.There is a thin black line surrounding the edge of front cover. The spine and back cover are plain green. There is gilt on the edges of the pages. Inside are guidelines for drawing and painting animals as suggested by Landseer and other well known English artists of the time with several reproductions of coloured plates as well as black and white engravings. Stephen T. Dadd gives practical hints. At the back are lists of Vere Foster's water-colour books and Blackie Publications.Pp 84.non-fictionA useful book for artists wishing to learn the techniques of drawing and painting animals by Edwin Landseer and other notable English artists in the early 1890's. The reproduced coloured plates and engravings support the text and advice.painting, art, art books, artists, artworks, etchings

Thomas Rooney was born in Den Carvan, Ireland, spent 36 years in Australia. Tom was married with nine children, he died 6th May 1914, aged 57 years, and at that time he was the Curator of the Ballarat Botanical Gardens.As Curator of the Ballarat Botanical Gardens Thomas Rooney made the begonia and orchid houses famous throughout Australia, which was part of his valuable contribution to the development of the Gardens.Black and white reproduction of an old photograph of T.Rooney in an oval frame with a black backgroundT.Rooney is printed at the bottom of the photograph and underlined.john garner collection, garner, dr, rooney, ballarat botanical gardens, ballarat, gardens, curator, thomas rooney, charles robert rooney, john lingham, w.r guilfoyle, begonias, orchids., ballarat old cemetery, grave

Paperback printed book. 128 pages. with illustrations and photographs, some coloured. Includes facsimiles, maps, and index. Includes a separate folded sheet inside a pocket which has a reproduction of a map of the Parwan Parish in the County of Grant. On the reverse of this sheet are two reproductions. One is a land auction plan for February 1910 advertising the sale of portions of land from the Nerowie Estate. The other reproduction is a section of a map showing some of the blocks of land in the Nerowie Estate which has the heading, 'Nerowie Titles 1898'. A pocket inside the back cover contains a separate booklet which is an index, and two pages of 'Additional Information'.non-fictionExplores the history of the small farming community on the outskirts of Bacchus Marsh. It contains a plethora of fascinating details about the early years of this farming community from the 1830s until the early 2000s. There is a brief section at the beginning which looks at the history of the area prior to the colonial era. The book contains numerous sections about families and individual people who have lived in the Parwan area and includes many images of places and people. Citation: Parwan: A History by Dianne Van Leuvan. Published by Parwan History Group, Bacchus Marsh, Vic., 2010.parwan vic. history

Ivor Hele was the Australian official war artist of World War II. This painting depicts the members of 17 platoon 2nd/6th Battalions in their first action of the war. their mission was to "attack and capture Post 11" in order to provide a faint or diversionary attack for the brigades main penetration. The attack was pressed home with the characteristic vigour of Australian soldiers Prior to the attack the commanding officer demanded that " No matter what happens to us, when we go forward we shall give the enemy such a thrashing that they will never willingly stand up to an assault by Australian Infantry again." The Battalion succeeded in its mission and went on to play a vital role in many of the most arduous battles of the war. This painting depicts the actions of one of the predecessor units to 5/6 RVR. Large framed print of painting by Ivor Hele shows 17 Platoon 2/6th Infantry Battalion in an Italian trench during the attack on Bardia. The painting depicts the scene after the capture of one of the Italian dugouts by Corporal Brian Latham's Section. The print is in a large mahogany coloured frame and has a matt finish to the picture. A smaller, separate frame sits below the print and contains the history of the painting. it is in a matching frame and has an olive card backing and the story is printed on an off white sheet. A manufacturers label is located on the obverse " GRAPHIC IMPRESSIONS 239 Burwood Road Hawthorn Vic. 3122 Telephone 9819 5800 76 Harold Street Camberwell Vic 3123 Telephone bardia, 2/6th australian infantry battalion, ww2, ivor hele, wark vc club

Framed print of General Sir John Monash standing with hands held to his front in uniform against a dark background. Encased in a moulded timber frame and behind an off white backing board with fade red borders General Sir John Monash G.C.M.G, K.C.B, V.D, B.A, D.C.L, LL.D., D. Eng., M. Inst.C.E Grande Officier de l' Ordre de la Couronne and de Croix de Guerre(Belguim); Grande Officier de la Legion d'Honneur and de Croix de Guerre avec Palme ( France); Distinguished Service Medal ( USA) commanded 4th. Aust. Inf.Bde (15 Sept., '14- 9 July, '16), 3rd Aust Div (10 July, '16-31 May,'18) and Australian Army Corps (1 June-30 Nov.,'18); Director General Repatriation and Demobilisation ( 1 Dec.,'18-15 Nov., Nov.,'19). Laanding at Anzac - Sari Bair - Messines- Broodseinde - Passchendaele - Villers-Bretonneux -Hamel - Amiens - Mont St Quentin - Hargicourt - Hindenburg Line - Beaurevoir Line Chairman of the State Electricity Commission of Victoria 1921/1931 Member of Council of Defence , 1921/1931 1865-1931 sir john monash, john longstaff, 1919, ww1, first world war, great war

'Menin Gate at midnight' was painted by Will Longstaff to commemorate those soldiers with no marked graves on the Western Front during the First World War; also known as 'Ghosts of Menin Gate'. Longstaff attended a ceremony dedicating the Menin Gate memorial to the soldiers of the British empire forces, just outside the town of Ypres, Belgium, on 24 July 1927. The memorial was dedicated to the 350,000 men of the British and Empire forces who had died in battles around Ypres, and bears the names of 55,000 men with no known grave, over 6,000 of whom were Australians. Longstaff was profoundly moved by what he witnessed and that night, unable to sleep, Longstaff returned to Menin Road and later claimed to have had a vision of spirits of the dead rising out of the soil around him. On returning to his studio in London he painted 'Menin Gate at midnight' in a single session. Today 'Menin Gate at midnight' has achieved the status of a national icon. The painting retains its ability to provoke an emotional response and to communicate the scale of the loss of life and the devastation of war. However as people now have a very different understanding of war, the painting serves a slightly different function. Whereas in the past people responded to the painting as it related to the loss of a loved one and their own personal grief, now the painting communicates the loss experienced by a whole generation. The vast number of those who were killed, and the immensity of the damage wrought during the First World War, requires that those who sacrificed their lives should not be forgotten. Longstaff used well-known motifs to trigger emotion. His scarlet poppies are flowers that could be found in the Flanders fields, but they also carry the traditional connotations of shed blood and remembrance; they represent a floral blanket covering the bloodied bodies of unknown soldiers; at the same time, like the paper poppies worn on Remembrance Day, they are a tribute from the living to the dead. The portrayal of the steel-helmeted soldiers rising from the cornfields extends the range of visual emblems used by Longstaff: the plentiful harvest; the harvest of men; the steel-helmeted crosses covering the graves of many soldiers; and the helmeted bayonets raised in cheer and victory.ww1, menin gate, wark vc club

With the establishment of the large heavy industrial zone at Hastings in the late 1960s, which included the BP oil refinery using the Port of Hastings at the north-western arm of Western Port, a number of environmental problems predicted by both scientists and conservationists arose. The main shipping channel on the western arm of Western Port was dredged, causing suspended particles affecting seagrass beds. With inadequate regulation around discharge of bilge water within the bay, and oil spillage, oil pollution affecting both seabirds and coastal areas was not uncommon. This report of 40 penguins actually known to have been killed by an oil spill event was typical of reports at the time. The 2 men quoted – Vernon Johnson and Ken Pound – were well known conservationists. Vernon and his wife Nora owned the Kingston Gardens picnic and zoo business where they cared for many injured wildlife. Ken was a Phillip Island counsellor for a few years, and instrumental in the establishment of the Phillip Island conservation Society. He also contributed various documents and newspaper cuttings to this archive.This article is significant for being a record of an exact number of penguins found dead from oil spill pollution in Western Port. Also as a record of conservationists in the early years of community and environment movements both locally and in Australia. The article further gives evidence of linking tourism with wildlife.Photocopy of newspaper cutting. Black print with very dark black and white photo of Fairy (Little) Penguin. Poor reproduction due to older photocopy machine.(indecipherable) - late/1960s.little penguins, fairy penguins, eudyptula minor, penguin behaviour, phillip island tourist attractions, phillip island conservation society, oil spills, bp refinery hastings, port of hastings, western port, marine pollution, oil tankers, vernon johnson, ken pound, phillip island promotion association

The original lithograph by American artist John Cameron was published by Currier & Ives around 1891.Large monochrome print in guild framed reproduction of John Cameron artwork depicting a harness racing finish in America.A Fair Field and No Favorgraydon, trotting, historic print, america, john cameron

This image is part of a larger collection of images from the Public Transport Corporation displaying train stations and streetscapes in what is now the City of Kingston.The development of the railway was crucial to the ongoing development of the area. Community life sprung up around the railway line which is evident in the proximity of shopping and leisure.Black and white photograph of railway gates at Centre Road, Bentleigh.Black printed text on a small, round, white sticker on reverse: 227 Handwritten in red ink on reverse: 50% Black typed text on a strip of white paper stuck on reverse: Gates Centre Road Bentleigh / mid 1960 / $50 reproduction fee applies Blue ink stamped on reverse: COPYRIGHT / Public Transport Corporation / For re-ordering photographs / Please quote negative No H 3407 / Enquiries C/- PTC Photographic Unit / Telephone switchboard 619 1111bentleigh, railway crossing, trains, suburbs, shopping strip

This image explores the relationship between the train lines and community development. Cheltenham's retail centre is connected to the train station.Black and white image of Charman Road, Cheltenham, depicting a car and truck travelling toward the level crossing near the train station. There is another car already waiting at the crossing gates. Cars are parked on either side of the road along a shopping strip.Black printed text on a white round sticker adhered to the reverse: 141 Handwritten in red ink on reverse: 50% Black typed text on a white strip of paper adhered to reverse: Charman Road, Cheltenham / circa late 1920's/early 1930's / $50 reproduction fee applies Blue ink stamped on reverse: COPYRIGHT / Public Transport Corporation / For re-ordering photographs / Please quote negative ADV 485 / Enquiries C/- PTC Photographic Unit / Telephone switchboard 619 1111cheltenham, trains, railway, railway crossing, shopping strip, cars

BHS CollectionFourteen pages booklet with grey cover and small red rope tying the pages together. On the front Golden Bendigo, the forest city Victoria...Australia. Panoramic view of Pall Mall, Bendigo and other photographic reproductions of views of the city. Printed and published by Cambridge Press, Bendigo.bendigo, golden bendigo, photographs of bendigo

Prepared originally in about 1988, placed on sale at the depot in 1989. Has drawings of California Combination tramcars, Toastrack trams, Bogie trams, One-man trams, a maze drawing for the horse tram, a join the dots drawing, decode this message and a mathematical problem. Copies on sale prepared by photocopying. Originally prepared with the BTPS name on the front cover, later changed to the BTM. 2250.1 - Brown Interoffice Envelope containing originals, letter from David Frost about reproductions, how many made, dates etc. Added 23/11/2010. See item 6006 for the second printed edition and 9539 for the 3rd edition.Demonstrates a BTM produced Sales item.Sixteen page Colouring book - A4 size, formed from folded 4 No. A3 size sheets stapled together with eight drawings to be coloured in or other activities prepared by David Frost. tram, trams, btps, colouring book, sales items

Bruno LETI (1941- ) Born Rome, Italy Arrived Australia 1950 Bruno Leti was nine years old when he came from post World War Two Italy. Known as a painter, printmaker, photographer and publisher of artists’ books, he studied at RMIT, studying Printnaking under Tate Adams, and Melbourne Teachers' College. He has taught art in Italy, Canada, USA, and Melbourne, Australia. Bruno Leti lives and works in Melbourne. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.This etching by Bruno Leti was exhibited as part of "Parallel Prints", a limited edition print project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection.trees, printmaking, etching, bruno leti, artist, artwork, parallel prints, landscape

Deborah WILLIAMS (1967 - ) Printmaker Deborah Williams completed a Masters by Research at the National Art School, Sydney in 2011. She later worked at RMIT in the Visual Arts TAFE program teaching Printmaking and is the Advanced Diploma Coordinator, and sessional lecturer in the Drawing and Printmedia department at the Victorian College of the Arts, School of Art. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed etching exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection.Edition 2/36deborah williams, parallel prints, artist, artwork, printmaking etching, dog, animal, shadow

Photograph shows Geelong tram 38 at the Belmont terminus with the conductor talking to driver prior to departure. Tram has the destination of North. See item 9578 for a colour print of this photo which was dated 25-5-1954. Based on a note on item 9580 of the same date, photo by Hugh Ballment.Yields information about Geelong No. 38 in 1954.Agfachrome Professional plastic mount (blue base, white cover) reproduction slide of a colour slide of Geelong No. 38 at Belmont terminus. "G 21" and "1 -21" in pencil.tramways, trams, geelong, belmont, tram 38

Postcard - black and white reproduction of a wall poster used by the Box Hill - Doncaster Tramway, includes sketch of Doncaster Tower, one of the tram cars and timetable. See Reg Item 699 and 198. Printed for the State Library of Victoria, by John Sands - Number PC11. Divided back, caption, printing information and bar code where a stamp would go. Robert Green advised by email 20-1-2018: "The tram in Russell Street was unveiled by the Premier, R J Hamer, on 1 May 1975. The ceremony was attended by F R Kirby, the Chairman of the M&MTB, and the Chairman (Judge Leckie) and Director (R H Fowler) of the Science Museum of Victoria." The tram was removed from the glass case when further development to the buildings occurred and temporarily relocated to Box Hill for the centenary of the Doncaster Tramway. 2nd copy of postcard - on rear - Has 33 cent stamp, postmarked for the Centenary of Cable Car Services, 11/11/1985 with a grip included and stamped "100 years of Melbourne trams carried on Commemorative official trip from Flinders St, Melbourne to Richmond Town Hall, November 11, 1985" in blue ink in the top left hand corner.trams, tramways, box hill, posters, timetables, doncaster, postcards, cable trams

Illustration, black and white, printed on gloss paper, reproduction of a MMTB report of photographs of the "Resilient crossings - Bourke Street - William Street Intersection", mid to late 1950's? May be from an MMTB Annual Report. Shows the nature of the crossing with the resilient inserts - it did not work as planned.trams, tramways, bourke st, william st, trackwork, construction

Illustration, black and white, printed on gloss paper, reproduction of a MMTB report of photographs of the opening of the Northcote electric tramway line, East Preston Depot, 24 June 1955. May be from an MMTB Annual Report. Shows the people attending, virtually all men. Shows the nature of the crossing with the resilient inserts - it did not work as planned.trams, tramways, opening, east preston, northcote, bourke st

Illustration, black and white, printed on gloss paper, reproduction of a MMTB report of photographs of the opening of the new North Fitzroy Tram depot, the three road depot, adjacent tracks and the bus depot. Has a number of trams in the view. Cars 1024 and 1031? Shows the nature of the crossing with the resilient inserts - it did not work as planned.trams, tramways, opening, north fitzroy, depots, bourke st, nicholson st, tram 1024, tram 1031, north fitzroy depot, mmtb buses

Yields information about the opening of the Richmond cable tram line and the Richmond Town Hall.Photograph, Black and White, reproduction of the opening of the Richmond Cable Tramway 11/11/1885 Has the Richmond Town Hall in the background. See Reg Item 5082 for a better photograph from a copy negative. Three prints of varying quality held.In ink on the rear: - Keith Kings stamp and number R(4)(1) Neg Melbourne - Opening of Richmond Cable Tramway - 11/11/1885. On rear of 2nd copy ex Colin Jones On rear of 3rd print ex Ken Magor collection - best copy - has the stamp of a newspaper on the rear.trams, tramways, cable trams, mto co, opening, richmond

Reproduction of an illustration of a cable tram set in Lonsdale St Melbourne with the Melbourne Hospital in the background. Set has the lettering of "North Carlton and St Kilda", trailer number 49. Subsidiary destination of Rathdowne St and Brighton Road. Three copies held. .1 - Black and white photograph of above from the Colin Jones Collection added 18/3/2021. See image htd5200i2 The "blob" above the trailer is not shown on the illustration.Yields information about cable set with trailer 49 and the Melbourne Hospital in Swanston St.Series of black and white reproduction photographs, one with extensive notes on rear.1 - Has TMSV Sales, 332 Flinders St on rear. 2 - On the rear of the print ex Colin Jones, "Mitchell" crop marks for printing and various sizing notes. 3 - handwritten in fading ink by Alf Twentyman - "Cable trailer 49 ran to Brighton Road until Dec. 1897, later ran between Queensberry St and St Kilda Esp, after Swanston St, put on North Carlton route as car 299, now at Deepdene 1968-69"trams, tramways, rathdowne st, brighton road, cable trams, north carlton, st kilda, hospital, tram 49

Reproduction of a wall poster used by the Box Hill - Doncaster Tramway, includes sketch of Doncaster Tower, one of the tram cars and timetable. Printed in two colours on heavy cartridge paper. Printed for centenary of tram by the City of Box Hill? Was Australia's first electric tramway. See also reference for further information on the tramway itself.trams, tramways, box hill, posters, timetables, doncaster

Colour photocopy reproduced onto an A3 sheet titled "To Doncaster Tower by Electric Tram" reproduction poster, advertising the Box Hill to Doncaster tramway, featuring an image of the tower, tramcar giving details of the train / tram fare from Princes Bridge Station and the timetable for trains and trams. Has the name of "H. J. Hilton" on the lower edge and printed by "Reporter" office, Box Hill. For the framed poster see Reg Item For a printers version of the poster (black and white) see Reg Item 326.trams, tramways, box hill, doncaster, railways

322 - Black and white Illustration, reproduction of a Victorian Railways Photograph of the Sorrento Steam Tram at the Sorrento Back beach. Printed on heavy card, with caption, source and by Stephen Watson as Card No. 104. Shows the steam locomotive and two cross bench trailers. Photo c1900? Note this photo is reproduced by a number of web sites - 2/9/13, and shows that the illustration has been cropped horizontally. .1- A4 size copy print - see inscriptions. .2 - Original from a Rose Series Postcard - P298, copy added from the Keith Kings collection. Could be a reproduced Postcard.On rear of .1 in ink "Copy neg 20/10/82" and "Herald" in bottom right hand corner on rear.trams, tramways, steam trams, sorrento

Black and white Illustration of the Doncaster - Box Hill tramway used for printing purposes. Has been adhered to a piece of cardboard with "whiteout" surrounding the edges to hide the edges. See also Reg Item 198 for a colour reproduction of this poster and Reg Item for a framed print.On the rear is the "The Tramway Museum Society of Victoria Limited" stamp.trams, tramways, box hill, timetables, doncaster

Image is an ESCo tram leaving the intersection of Grenville St. and Bridge St. and proceeding east along Bridge St. Photo taken behind junction points. Has the Nicholl & Allan building on the left side of the photo and the Bucks Head Hotel on the right. Numerous people walking around the street. Shows overhead construction in the area. Title in top left-hand corner "Bridge St. (Looking East), Ballarat. On the rear is places for stamp, address and manufacturer's name in a fancy motif "WTP". Photo taken soon after opening, no roof-mounted destination boxes. See item 9010 for a printed version. yields information of Bridge St at Grenville St, c1905B&W print, laser print and scanned images of a coloured postcard lent to the BTM by Mr. Norm DePomeroy, August 1998 and Sovereign Hill reproduction of this card contained within a scrap book. See Notes for various image holdings and history.trams, tramways, esco, sturt st, postcards, bridge st., grenville st