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

CROWD SCENE BACK TO CLUNES 1920. NOVEMBER 13TH. 1920 NAMES OF PEOPLE IN THE PHOTOGRAPH HAND PRINTED IN INK, PHOTOGRAPH TAKEN ON VACANT BLOCK (COLLINS PLACE) IN FRASER STREET, .1 REPRODUCTION BLACK AND WHITE PHOTOGRAPH OF CROWD TAKEN DURING BACK TO CLUNES 1920. TAKEN ON VACANT BLOCK [ COLLINS PLACE] IN FRASER STREET, CLUNES .2 ORIGINAL BLACK AND WHITE PHOTOGRAPH OF CROWD TAKEN DURING BACK TO CLUNES 1920. TAKEN ON VACANT BLOCK [ COLLINS PLACE] IN FRASER STREET, CLUNES.1 On Front; Handwritten in black ink, Back to Clunes 1920, J F Weickhardt, Phil Rowe, J Strangard, J Flower On Reverse; stamped in faded black in Shire of Talbot & Clunes .2 On Front; 3RD. ROW ELIZABETH NIGHTINGALE 2ND. MIDDLE LAURA VEALE Stamped with Rialto Ballarat On Reverse; Handwritten in black ink "Back to Clunes Nov 13th to 20th 1920photographs, events and celebrations, back to clunes

Print of an original oil painting created in 1874 (these numbers are in the top left corner) by artist Gabriel Max ("Gab Max" is in top right corner) and reproduced by Kodak. The reproduction was likely made for the Mission to Seamen from the early 1906 to the 1960s to hang in its chapel. The publisher Reinthal & Newman, New York, was in business between 1906 and 1928. The company originally published postcards, but from 1920 they published prints of art from original works of famous and not so well-known artists. The published items were distributed by the House of Art, NY, which continued on into the 1950s. The print was part of the original furnishings of St Nicholas Seamen's Church, Williamstown, Victoria. The church was operated by the Missions to Seamen organisation. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the organisation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. The print is significant because of its association with the Mission to Seamen in Williamstown, Victoria. This organisation had strong connections to the colonisation of Victoria by people travelling and arriving by sea. The picture is also significant as a representation of 19th century religious art by Gabriel Cornelius von Max.Print of an oil painting representing Jesus Christ, closed eyes, tear on cheek, with a crown of thorns, titled “Jesus Christus”, produced in 1874 by 19th century artist Gabriel Cornelius von Max (GAB MAX). Print on paper; black and grey drawing on beige canvas-look background with image of fixing pins in each corner, edges look like torn fabric. Published by Reinthal & Newman, New York. Print is behind glass, mounted in heavy wooden frame that is painted dark brown. Reverse has numbers on small white label. Base of reverse has two small holes, each with indentations from something round. Backing board has indentations from nails no longer there. There are remnants of original hanging wire, but this has been replaced. Part of the St Nicholas Seamen's Church Collection.FRONT: Top left :1874” Top right “GAB MAX” [Gabriel Cornelius von Max] Handwritten script under picture “Jesus Christus”. Printed bottom left on front “A33 © REINTHAL & NEWMAN PUBS. N.Y.” REVERSE: “162” written in black felt pen on white label. Pencilled on reverse "11 3/8 x 9 1/4" and "Kodak" and other indecipherable markings.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, christian art, picture of jesus christ, jesus christus, photographic print of jesus christ, missions to seamen victoria, mission to seafarers, flying angel’s club, religious worship, reinthal & newman new york, jesus christ with crown of thorns, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, harbor lights guild, joy club for fighters, ladies lightkeepers’ auxiliary, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, print, religious print, jesus christ, 1874, 19th century artist, gabriel cornelius von max, gab max, gabriel max, reinthal & newman, oil painting, st nicholas seamen's church, a33 © reinthal & newman pubs. n.y., kodak, house of art

Black and white photograph of the Ballaarat Tramway Co. horse tram fleet massed for a group photograph within the Gardens, at one of the loops. May have been taken on the same day as item 800. About the same number of horse trams. Close up of some the trams. The first has "CONVENT" destination and "Havelock Tobacco" advertisements. By the first tram is person dressed in an overcoat and hat. Conductor and driver on either side. Print made from a photograph held by the Ballarat Historical Society - original photo had drawing pin holes on bottom edge. See Reg Item 1121 for another reproduction of the photograph and item 9656 for a hand coloured good quality version. 2nd copy added 9/11/2005.trams, tramways, horse trams, wendouree parade, gardens, electrification

Stapled printed softcover booklet. 20 pages. 200mm x 290mm. Facsimile reproduction of a real estate booklet originally produced in 1947 by Sands and McDougall Pty Ltd for sale of the Underbank and Parwan Park properties in Bacchus Marsh. Facsimile reprint of original publication. Date of reprint copy c.2022. Original copy, printed 1947, is also held by Bacchus Marsh and District Historical Society. BMDHS Location: AR/SU4non-fictionSolomon (Sol) Green was a major bookmaker, businessman, real estate investor, racehorse owner and trainer, and philanthropist. His connection to Bacchus Marsh was through his ownership of the Underbank Stud property which he purchased in 1924. He also owned the Parwan Park property for some time. Both of these properties were put up for sale in 1947 just a year before the death of Sol Green in 1948. solomon green 1868-1948, bookmakers, parwan park, underbank stud, land sales bacchus marsh

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

CLUNES KNITTING MILL WAS ORIGINAL THE SOUTH CLUNES SCHOOL. SITUATED ON TALBOT ROAD CLUNES - LATER SCHOOL CLOSED AND PUPILS WERE TRANSFERRED TO NORTH CLUNES SCHOOL..1 BLACK AND WHITE POSTCARD PHOTOGRAPH OF CLUNES KNITTING MILL AND EMPLOYEES STANDING IN FRONT OF BUILDING .2 REPRODUCTION COPY OF THE ABOVE PRINTED ON MATTE PHOTOGRAPHIC PAPER.1 Hand written in blue ink on reverse; Clunes knitting mill employees, by May Grant also printed circular stamp in purple ink "Printed by H. Maddicks Daylesford"photographs, schools, 136 knitting mill, south clunes school

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

Antoinetta COVINO-BEEHRE born Avellino, Italy arrived Australia 1968 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 work was 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. lls '2/36' lc 'Shadow of the Night' lrs ''Antoinetta Covino-Beehre'artist, artwork, antoinetta cravino-beehre, printmaking, parallel prints

see makers comments above. Rev James was also Chaplain to the Naval Forces of Victoria until the time of Federation. The article featured in the Port Gazette seems to be a profile of James and his works and headline being: "Jack's Friend" Rev Ebenezer James one of the early Chaplains based at the Mission to Seafarers. He ministered to and advocated on behalf of the seagoing fraternity both merchant and Naval forces and was an instrumental force in the stamping out of the practice of crimping and the exploitation of seafarers. He received and forwarded the letter from 22 sea captains (MTSV 0030 requesting the establishment of a Mission in the vicinity of the Australian Wharf. James' brother was an MLC and his daughter Britomarte is also noted with an entry in the ADB. The original clipping image of James is the only known existing image.Black and white gloss print photograph of 19th Century bearded man ; new wood frame, cream window mount ; glazed with perspex, composition back board. This photograph is a reproduction of an image found on a scrapbook clipping taken from and originally published in the Port Gazette of July 25th 1896. Verso - Texta inscription catalogue number : MTSV 0707 also 2 Labels on backboard of frame one a barcode and one handwritten "EBENEZER JAMES / CHAPLAIN, MISSION TO SEAMEN (1886 - 1901)ebenezer james, chaplain, jack tar, crimping, missions to seamen, port melbourne

Set of 9 replica destination rolls produced by the AETA, mid-1960s to give details of each destination roll of Sydney tram or trolley buses. 1 - Western suburbs - AETA No 1 - 1250mm long 2 - Eastern suburbs - AETA No. 2 - 1150mm long 3 - North Sydney - Manly - AETA No. 3 - 1040mm long 4 - Watsons Bay - AETA No. 4 - 700mm long 5 - Newcastle - AETA No. 5 - 620mm long 6 - Enfield Depot - AETA No. 6 - 363mm long 7 - Wylde St Trolley Bus AETA No. 8 - 112mm long x 71mm wide 8 - Kogarah Trolley bus - AETA No. 9 - 305mm long x 71 mm wide 9 - North Sydney - Manly AETA No. 12 - 690mm long x 50mm wide 10 - Eastern Suburbs - AETA No. 14 - 770mm long x 50mm wide 11 - Western Suburbs - AETA No. 16 - 1270 long x 50mm wide 12 - North Sydney / Manly side - AETA No.17 - 519mm long x 80mm wide 13 - Western Suburbs side - AETA No. 18 - 665mm long x 80mm wide 14 - Watsons Bay - AETA No. 20 - 1160mm long x 48mm wide 15 - Eastern Suburbs - AETA No. 21 - 11540mm long x 48mm wide 16 - North Sydney - AETA No. 22 - 750mm long x 48mm wide 17 - Eastern Suburbs Side - AETA No. 23 - 523mm long x 87mm wide The envelope in which they were received by the donor - preprinted for the Electric Traction magazine with a 2/5d stamp, Registered mail has been retained. Date stamped 30 Aug. 1965. Yields information about Sydney tramcar and trolley bus destination rolls.Set of 18 paper rolls of varying length, printed and joined by glueing.tramways, destination rolls, sydney, aeta, destination roll, buses, trolley buses

Colour print of a reproduction of an oil painting - Swanston Street from a point north of Little Bourke St looking south towards the Kings Domain. Reproduced by Kew Cottages and St Nicholas Parent's Association from a original print and lithographed by F Cogne, printed and published by Charles Troedel in his Melbourne Album 1863. Appears to have a number of horse drawn cabs parked in the centre of the street.Yields information about early Melbourne after the start of the gold rush.Reproduction of an oil painting - card - Swanston Street Melbourne 1863melbourne, horse drawn vehicles, swanston st

Sepia toned print of a drawing of Princes Bridge with St Paul's Cathedral and other buildings. Has a number of cable trams and horse drawn vehicles on the bridge. The artist has taken liberties and drawn the spires onto St Paul's cathedral and other buildings such as Princes Bridge railway station. The spires is most likely based on the proposed design at the time. They were built in 1926 to a changed design - see reference.Yields information about the Princes Bridge precinct.Reproduction of a Lithograph drawing - Princes Bridge from the south bank of the Yarra River.melbourne, princes bridge, horse drawn vehicles, st pauls cathedral, cable trams

Photo of Geelong Pengelley No. 16 in Pakington St. Geelong at the junction with the Newtown line. Tram is coming from Chilwell and has the destination of Station. Tracks from Newtown at bottom of photograph. Photo by Hugh Ballment, 25-5-1954. See item 9583 for a print of this image.Yields information about Geelong No. 3 in 1954.Agfachrome Professional plastic mount (blue base, white cover) reproduction slide of a colour slide."G 13" and "1 -13" in pencil.tramways, trams, geelong, pakington st, chilwell, tram 16

The photograph shows SEC Geelong 38 in Moorabool St looking north to Corio Bay. Has the T&G and the Bank of NSW in the view. Photo possibly a reproduction from a postcard.Yields information about Moorabool St Geelong in the early 1950s.Colour print with plain back on Agfa paper. tramcars, trams, geelong, moorabool st

Rev. Edward Selwyn Chase (1864-1950), son of Canon Chase was Curate at St John's Anglican Church, Healesville 1895-1902. He then transferred to Yarraville Anglican Church 1902-1904.. In 1907 he became Vicar for the parish comprising the Anglican churches St Matthew, Panton Hill, Queenstown, Hurstbridge and Kinglake where he serrved for 18 years. This is a copy of the valedictory address given on the eve of his departure from the parish, 21 November 1925 and was signed on behalf of the parishioners by the secretaries and treasurers of each district. A copy of the address was reproduced in the Advertiser, Friday, December 4, 1925, p4 THE ADDRESS. (1925, December 4). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 4 (AFTERNOON). Retrieved November 23, 2024, from http://nla.gov.au/nla.news-article56659141Advertiser (Hurstbridge, Vic. : 1922 - 1939), Friday 4 December 1925, page 4 ________________________________________ THE ADDRESS. The following is a copy of the address : REV. EDWARD SELWYN CHASE. On the eve of your departure after 18 years of faithful service as Vicar of this parish, comprising the Anglican churches St. Matthew, Panton Hill, Queenstown Hurstbridge, and Kinglake, we, your parishioners and friends, united in one body, desire to express our heartfelt appreciation of your good works, both spiritual and social, during your long sojourn in this parish. Your generous aid and spiritual ad-i ministration have always been at the service of those in want or lying on beds of sickness. By relieving their necessities and soothing their afflictions you have earned our heartfelt gratitude. "That best portion of a good man's life, that little, nameless unremembered act of kindness and of love." --Wordsworth. You have always taken a practical interest in foreign and home missions, and your labor of love amongst our black brethren in Northern Australia, until your health was undermined, is typical of your sincerity in things that are "more excellent." "When we consider the deep interest you have taken in the welfare bf. our children, striving by precept and example to mould the characters of our future citizens, particularly may we mention the boy scouts, and religious instruction in our schools, we feel that we are greatly indebted to you. May we also be permitted to link with your name that of your worthy wife, Mrs Chase, whose earnest work as superintendent of the Sunday school and Ladies' Guild has learned our warmest approval. "As ye sow so shall ye reap." During your many years of Divine ministration you have shown your great love of God, King, and Empire, and as a citizen you have been exemplary in the discharge of your civil duties, and have always taken a keen interest in the progress of our district. We feel, therefore, that it is good for you to. know that your work among us has found appreciation throughout the parish, and even beyond, and we all join in wishing both you and Mrs Chase God speed and success in the work God has allotted you. May you enjoy good health and long be spared to labor in the Master's vineyard, for we have found you a workman approved by the Great Architect, that needeth not to be ashamed, rightly dividing the Word of truth. "I know thy works and charity and service and faith, and thy patience and thy works, and the last be more than the first." On behalf of the combined churches of -the parish, and friends of the district, .we hereto affix our signatures. The address was signed on behalf of the parishioners by the secretaries and treasurers of each district.hurstbridge, kinglake, panton hil, queenstown, reverend edward selwyn chase, st andrews, st matthew's church

The reproduced painting on the front of the card is 'Lady of St Kilda' by Mary Mooney 1929. The card was made during the period of the amalgamation of the councils of St Kilda, South Melbourne and Port Melbourne to become Port PhillipFolded white card printed in black. On the front is a reproduction of a painting of a ship in full colourHandwritten message in blue ink: Dan Good Wishes Descity of port phillip

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

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