Showing 671 items
matching printed plates
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Uniting Church Archives - Synod of Victoria
Photographic print block
Wood block with photographic plate. Head and shoulders of unknown man in a collar and tie.glen iris presbyterian church -
Uniting Church Archives - Synod of Victoria
Book - Bible, Archibald Fullerton & Co, Hawei's Bible, 1837
BL005.1 and BL005.2 brown leather hard covered book with gilt borders and text on the spines. The bibles have a printed label inside the front covers. B005.1 Vol 1 The Holy Bible with notes, references and practical observations. Includes maps and monochrome plates. From Genesis to Esther. B005.2 Vol 3 The evangelical expositor : or, a commentary on the Holy Bible : wherein the sacred text of the Old and New Testaments is explained and elucidated, with practical observations for the use of families / by the Rev. Thomas Haweis."WILLIAM BETTS 1840"hawei's bible, william betts 1840 -
Uniting Church Archives - Synod of Victoria
Book - Bible, William Collins Sons & Company, The Practical and Devotional Family Bible. The Holy Bible."
B006 ROGERS—CORBEN.— On the 5th February, at the Wesleyan Church, Hotham-hill, by the Rev. J. F. Horsley, John J. Rogers, of Hotham, to Kate, second daughter of Isaac Corben, Esq., of Lonsdale-street, Melbourne, stone merchant. [Source: Trove - The Age, 21 Feb 1879, pg 1]BL006 and BL011 Heavy black board covered book with gilt border and text on the spine. The pages are gilt edged. The bible includes commentaries of Henry and Scott, colour plates and maps. BL006 The family register has some entries for the Royal Family. The bible has a printed label inside the front cover. BL011 has a printed label inside the front cover. BL006 "Presented to Mr and Mrs Rogers by the Trustees of the Hotham Hill Wesleyan Church on the occasion of their marriage being the first celebrated in the church 5th Feb 1879" BL011 "Presented by the trustees to Mr and Mrs F. Fletcher on their wedding day Wednesday July 14 1875 being the first marriage solemnized in the United Methodist Free Church Peel Street Ballarat with best wishes for their temporal welfare and everlasting happiness"hotham hill wesleyan church, united methodist free church peel street ballarat -
Uniting Church Archives - Synod of Victoria
Bible, Holy Bible, MDCCCLXVII [1867]
Badly worn brown leather covered bible. Coloured maps and plates, monochrome illustrations. Thirty large cartoons. The illustrated household commentary The Holy Bible. According to the Authorized version with the marginal readings and parallel references printed at length and the commentaries of Henry and Scott condensed by Rev. John McFarlane. Biblical dictionary by Rev John Eadie."The Holy Scriptures" in gilt on front cover.bibles -
Uniting Church Archives - Synod of Victoria
Plate
China plate with a raised floral border some of which are coloured. Transfer print of John Wesley in centre with text.'Rev. J. Wesley A.M.'wesley, john -
Uniting Church Archives - Synod of Victoria
Commemorative plate
... Cream china plate with sepia transfer print. Image... 'Wesley Church Colac' Cream china plate with sepia transfer print ...Cream china plate with sepia transfer print. Image of Wesley Church Colac.'Wesley Church Colac'wesley church colac, wesley, john -
Uniting Church Archives - Synod of Victoria
Plate
... Blue plate with black transfer print. Gift to Alex...' Blue plate with black transfer print. Gift to Alex Gillespie ...Blue plate with black transfer print. Gift to Alex Gillespie from Dr Alan Gregory.Front: 'Ormond College University Melbourne 1881 - 1981'. Back: 'Produced exclusively for Ormond College'ormond college, university of melbourne, presbyterian -
Uniting Church Archives - Synod of Victoria
Plate
... White entree sized plate with black transfer print... sized plate with black transfer print. Standard student dining ...White entree sized plate with black transfer print. Standard student dining room crockery.'Queen's College' -
Uniting Church Archives - Synod of Victoria
Teapot, plate and saucer
www.myprimitivemethodists.org.ukWhite china with gold trim and green transfer prints and text. Teapot, registration number 13.1, has a serpent like spout. Teapot lid, registration number 13.2. Saucer, registration number 13.3. Plate, registration number 13.4.Teapot front: 'Primitive Methodist Jubliee Chapel Tunstall'; teapot back and teapot lid: 'William Clowes' 'Hugh Bourne'. primitive methodist, primitive methodist jubliee chapel tunstall -
Uniting Church Archives - Synod of Victoria
Cup and saucer
1 oblong serving plate, registration number 1.4; 2 round bread and butter plates, registration numbers 1.1 & 1.2; 1 round saucer, registration number 1.3. White china with blue transfer print. 'Methodist school & church'; 'Mount Erica'.wesleyan methodist, mount erica methodist church prahran -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Book, Good Housekeeping Cookery Compendium, 1952
... Some colour plates, 640 pages, printed and bound... Entrance gippsland Some colour plates, 640 pages, printed and bound ...Some colour plates, 640 pages, printed and boundBlack stippled cover, Good Housekeeping Basic Cookery, in pictures, spine is printed in gold and includes publisher, hard covercookery book -
Clunes Museum
Photograph, 9. 12. 1873
This photograph is taken from the original engraving the plate of which is held by the Clunes Museum.1 ORIGINAL SEPIA PHOTOGRAPH MOUNTED ON BROWN MAT BOARD CHINESE MINERS ON LEFT, POLICEMEN MOUNTED AND ON FOOT ON RIGHT MINERS AND LADIES IN BATTLE .2 PHOTO COPY OF ABOVE IMAGEOn Front; PRINTED AT THE BOTTOM OF THE IMAGE; "DISTURBANCE AT CLUNES - MINERS RESISTING THE INTRODUCTION OF CHINESE LABOR. 9-12-1873" On Reverse; Handwritten in black ink W. J. Champion Clunesmining, disturbance at clunes, chinese labor -
Clunes Museum
Document - DOCUMENTS, 1879
GEORGE CHAPMENT& CO WERE TIMBER MERCHANT, BUILDER, IRONMONGERS, UPHOLSTERERS AND UNDERTAKERS. THEY SUPPLIED AGRICULTURAL IMLPEMENTS FENCING WIRE, MINING TOOLS,FUSE,POWDER,PRINTS,OILSAND BUILDING MATERIAL, FURNITURE,HOSE,SHOT,PLATED GOODS CUTLERY AND FUNERALS FURNISHED ON SHORTEST NOTICE..1 - .11 DOCUMENTS FROM GEORGE CHAPMAN & CO.TO M& F WILKINSON FOR MINING REQUIREMENTS.1879. .2 TWO SECTIONS OF ACCOUNTS FROM GEORGE CHAPMAN& CO 1879 TO MRS. WILKINSON & PARTY.local history, document, accounts, wattleworth, lena. mrs. -
Nillumbik Shire Council
Prints (solar etchings): Christine JOHNSON (b. 1959 AUS), Voyages Botanical, 2014
Johnson undertook this project with a State Library of Victoria 'Creative Fellowship' in 2012, drawing on early botanical illustrations by Sydney Parkinson, Pierre-Joseph Redoute, Ferdinand Bauer and others from the Library's 'Rare Books' Collection. Johnson printed this series in 2013 while working as artist in residence at Baldessin Press, St. Andrews. 'Voyages Botanical' celebrates the untamed treasures of Australia’s (Nillumbik) vast native flower garden. The work speaks to Nillumbik's natural environment and colonial heritage in the context of our national story. Charcoal solander box with artwork title, artist name and flower motif in silver lettering bottom centre (edition 4/5). Catalogue: 52 colour pages. Solar plate engravings x 30; ink on paper. Series A: Ten multi-layered solar plate engravings (edition of 12); Series B: Ten flower images drawn from living specimens (edition of 12); Series C: Ten details from early botanical art engravings (open edition) Charcoal solander box with artwork title, artist name and flower motif in silver lettering bottom centre. Solar plate engravings x 30: Series A, B: all prints have edition number '4/12' to bottom left of image, artwork title () centre and artist signature 'Christine Johnson 2014' to bottom right of image. Series C: all prints have artist initials signed 'CJ' bottom right of images. All inscriptions in pencil. johnson, solar plate, engravings, creative fellowship, baldessin press, state library of victoria, botanical, flora, native, european explorers, cartography, wildflowers -
Peterborough History Group
Plaque - Peterborough Golf Club Open Women's Championship
The Open Women's Championship is open to players from other clubs as well as Peterborough players. The honourboard and original trophy tray was presented by Dawn Irvine. When there was no room for more names, a second tray was presented by Pam Bradshaw, for her mother Dawn Irvine. Open women's championship 1995 V. Beer, 1996 E Willox, 1997 S Beer, 1998 V. Beer, 1999 L Bourke, 2000 R Whitehead, 2001 F Rundle, 2002 SBA 2003 S. Beer, 2004 S Beer, 2005 S. Beer, 2006, D Robinson, 2007 S. Beer, 2008 F Rundle, 2009 T Carter, 2010 D Robinson, 2011 J Barrett, 2012 M Ryan, 2013 F Mead, 2014 R Whitehead, 2015 K. Matheson, 2016 K Matheson 2017 S Bernhard,t 2018 M Ryan, 2019 J Walsh, 2020 COVID-19, 2021 F Philip.This is significant as it records the winners of this event over the years. It is also a record of the year the event startedSquare shaped honour board with gold printing. Two round silver plated trays, with names engravedNames of winners printed on board - listed belowpeterborough, golf, women's golf, sporting honour boards, golf championships -
Nillumbik Shire Council
Print (etching, acquatint, stencil): Jock CLUTTERBUCK (b.1945), Jock Clutterbuck, ‘Frosty Night Cartouche’ from 'The Baldessin & Friends' commemorative folio, 2016
Jock Clutterbuck is a sculptor and printmaker of national significance, known for his sophisticated abstract forms with underlying esoteric mysticism. Clutterbuck overlapped with Baldessin when he studied sculpture and printmaking at the Royal Melbourne Institute of Technology, RMIT (1965-66). He taught at RMIT from (1969-73) before lecturing in sculpture at the Victorian College of the Arts (1974-2000). He is represented in many national and international public art collections and is a recipient of many National prizes and awards. George Baldessin (1939-1978) was a printmaker and sculptor who built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.‘Frosty Night Cartouche’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Following a visit to the Press in 2015, Clutterbuck was reminded of a suite of paintings he had produced some thirty years earlier inspired by plein-air drawings of the night sky. This print attempts to capture something of the enchantment, mystery and drama of a frosty rural property where Clutterbuck spent many years. It is a frost dreaming; a subtle personal homage to Baldessin, embodying the reverence of a fellow artist towards an old friend. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Frosty Night Cartouche' (title); right 'Jock Clutterbuck' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)ekphrasis2018, symbols -
Nillumbik Shire Council
Print (etching and photo polymer): Imants TILLERS (b.1967 Syd., AUS) in posthumous collaboration with George BALDESSIN (b.1939 Treviso ITA – d.1978 Melb., AUS), Imants Tillers, 'Unsaid + Nameless' from the 'Baldessin & Friends' commemorative folio, 1976; completed 2016
Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio -
Nillumbik Shire Council
Print (woodcut and etching on chine-colle): John WOLSELEY (b.1938 Somerset, UK; arrived 1976 Melb., AUS), John Wolseley, 'Life world of the Longicorn beetle' from the 'Baldessin & Friends commemorative folio', 2016
Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media -
National Wool Museum
Printing plate
Printing plate used for illustration of the burning of the ship "Lightning" on October 31, 1869, printed in a newspaper.Printing plate used for illustration of the burning of the ship "Lightning" on October 31, 1869, printed in a newspaper.corio bay, victoria -
Geelong Naval and Maritime Museum
Plate, Huddart Parker Line plate, Mid to late 19th Century
Huddart Parker traded between 1876 and 1961. It was established in 1876 by James Huddart, T.J. Parker, John Traill and Captain T. Webb. The business rapidly expanded and was travelling between Melbourne and Sydney by 1882 and Melbourne to Adelaide from 1886. The Company was established in Geelong but moved its offices to Melbourne by 1890. It is likely this saucer was used on the Huddart Parker shipping line some time between 1876 and 1961. Historically, the early establishment of the company in Geelong is significant for the region. The object is significant for its connection to early Victorian transport from regional ports to larger cities.A white glazed saucer with a blue transfer print with geometric design on rim. Huddart & Parker Co. logo transfer print on rim and base.Makers Mark: "C McDANN & CO ENGLAND HANLEY R.NO 764041" on base. "HUDDART PARKER LINE" logo on rim.geelong maritime museum, huddart parker line, huddart parker, c. mcdann and company, hanley, shipping lines geelong -
Stawell Historical Society Inc
Book, Stawell 1874 The Holterman Collection
Comb Binding Plastci cover paperStawell 1874 The Holtermann Collection Stawell Historical Societyinformation on how photographs came to be. photos that survived of stawell. plate and originals held at mitchell library. state library of nsw. prints purchased to be made into 1874 panorama on display. photos, cropped photos family information, news articles -
Buda Historic Home & Garden Castlemaine
Linocut print, Hydrangeas, c 1925
Acquired by Kate Leviny. The Leviny daughters were friends with Ursula Ridley Walker. The Leviny women at Buda in Castlemaine were keen collectors of artworks by women printmakers from the early twentieth century.Ursula Ridley Walker is a little know Australian woman artist who was working in many artistic fields during the first part of the twentieth century. Buda holds the largest public collection of Walker's work in Australia.Print by Tasmanian woman artist, Ursula Ridley Walker, depicting blue hydrangeas in a dark blue jug with a green octagonal plate in the background. Mounted and framedLower left: 'Hydrangeas' Lower centre: '- Coloured Lino Cut -'. Lower right: 'Ridley Walker 5/50'.ridley walker, linocut print, australian women printmakers, hydrangeas, leviny collection, buda, castlemaine, 1925, ursula ridley walker, tasmanian artist -
Koorie Heritage Trust
Document - Printed Sheets, Bennett, Catherine, A report on the Aboriginal Skeletal Remains from the Chenery Burial, near Skipton, Site Number: 7522/20, 1987
29 P.; Appendices; plates; figs.; tables; refs.; 33 cm.skeletal remains-aboriginal-chenery near skipton vic. -
Koorie Heritage Trust
Document - Printed Sheets, Bennett, Catherine et al, Report on Aboriginal Skeletal Remains from Tarwin Meadows, South Gippsland - site number 80201/043, 1986
30 P.; appendices; maps; figs.; tables; plates; 32 cm.skeletal remains-aboriginal-tarwin meadows-south gippsland, anthropology-aboriginal-south gippsland., victorian archaeological survey-aboriginal skeletal remains -
Latrobe Regional Gallery
Print, CHEVALIER, Nicholas, Wentworh River Diggings, Gipps Land
Coloured lithographInscription beneath plate "WENTWORTH RIVER DIGGINGS / GIPPS.LAND / from a Picture by N. Chevalier - Printed and published by Charles Troedel, Melbourne Album Office, 73 Collins ST EAST." -
Latrobe Regional Gallery
Print, KELLETT, Adrian b. 1974, Garden Study, 2001
... ' lower left corner under printed image. Multi-plate etching ...Multi-plate etchingSigned and dated 'A Kellett 01' in lower right corner under printed image. Edition 21/40, and title 'garden study' lower left corner under printed image. -
Koorie Heritage Trust
Document - Printed Sheets, Barrett, Charles, Blackfellows of Australia, 1936
Covers a wide range of aboriginal tribes and areas dealing with customs and art work beliefs and history. Some early plates curtesy of the Melbourne Museum.44p.; facsimiles; figs.; 30 cm.Covers a wide range of aboriginal tribes and areas dealing with customs and art work beliefs and history. Some early plates curtesy of the Melbourne Museum.aborigines-social life and customs., aborigines-victoria, murray river tribes-social life and customs. -
Whitehorse Historical Society Inc.
Photograph - Black and white negative - Whitehorse Road Mitcham c. 1949, Harold Ernest Millane, Whitehorse Road Mitcham, Vic. c. 1949, circa. 1949
This image was one of a series taken by Harold Millane in the late 1940's. They were printed onto post cards. Mary Millane, Harold's wife, printed captions on each negative with Indian ink. The series includes a variety of views of Mitcham, Vermont, Nunawading, Park Orchards and Doncaster East. The post cards were sold as souvenirs in the Millane shop on the N-E corner of Station Street and Whitehorse Road, Mitcham (originally the Mitcham Post Office).Clear photograph showing details of shops, vehicles, streetscape, lighting.Celluloid half plate B + W negative.Whitehorse Road Mitcham, Vic. hardy scott, h. s .beckwith, richards drapers, d. g. williamson, r. gracie, s. kelly, cenotaph, mitcham memorial hall -
Dandenong/Cranbourne RSL Sub Branch
Commemoration glass plate, Unknown
Contains historical reference to Dandenong, Victoria, Australia.Glass plate issued for the centenary of Dandenong, Victoria, Australia. Contains a print of the official blazon. Then origin/meaning of the blazon is as follows: The shield portrays from base to chief the development of Dandenong, since its beginning about 1865. The red gum forests used to cover the area, and when cleared cattle were raised. In the modern era the city is known for its variety of modern industrial plants, represented by the gear wheels. The rising sun in the crest suggests that this phenomenal rise is only just a a beginning of Dandenong's develpment. The lyre alludes to the annual three-week Dandenong festival of Arts and Music. The value of horses in the pioneering days, when Dandenong was the 'Gateway to Gippsland Victoria' is recalled in the two supporters, which also refer to the importance of the weekly horse sales in the modern era.Crest in the centre of the plate with the latin phrase VIRTUTE ET OPERA. Under the crest is the centenary 1873 - 1973. -
Dandenong/Cranbourne RSL Sub Branch
Veteran Affairs Crockery, Various 8/88 6/85 3/86 4/87
Veteran Affairs Crockery consisting of- Dinner plate,Bread plate,Bowl and Cup & Saucer.White with two blue circles on outer edges and blue circle half way down.. Square Veterans Affairs label in blue on each item. (5 Items)Blue Square outline with Veterans Affairs printed in blue inside.On base of items-Bristile Made in Australia Dates various dates 8/88-6/85-3/86-4/87.