This is a photograph of the outside of a large truck with trailer. The truck is marked Department of Health School Dental Service.

This photograph is one of approximately 43 original photographs and photocopies of buildings, patients and staff assembled in a red covered, spirally bound photograph album (the album itself is now discarded and the images stored separately). The images in the album cover the period from the 1870s to 1965. A few photographs have inscriptions on the reverse; others had later separate labels in the album. The album was presumably compiled as a public record. It and other items came from the collection assembled by Dr Fred Stamp, the last medical superintendent of Willsmere Hospital before its closure in 1988. Original photographs have been uploaded to and described on Victorian Collections. The album itself is listed and linked separately showing the photographs in situ.A number of the photographs from the Willsmere Hospital album are confronting, especially given the condition of the buildings and facilities depicted, as well as the casual photographs of patients, which some viewers may find distressing. The album and its photographs are however an historically significant visual record of the Kew Mental Hospital, especially in the years 1951-1965.Black and white photograph of a person mopping the floor of a room with tables and or desks in the Kew Mental Hospital."1951"kew lunatic asylum, kew hospital for the insane, kew mental hospital, kew mental institute, willsmere mental hospital, willsmere hospital

Donated by Charles Nodrum, 2018Lithograph on papergippsland, artwork, permanent collection

Colour photo of inside of Ledcourt Homestead. Ladies are Mrs Eileen Cooper and possibly Mrs Ethel Cooperstawell

Pleasant Creek. Stawell Hospital Inside of Syme Ward stawell hospital medical

Norman Carter took many photos of Surrey Hills and Mont Albert from the 1920s; many were associated with events and activities of the Church of England.Black and white photo taken from the scaffolding inside Holy Trinity Anglican Church, Surrey Hills showing the brick skin of the building and the timber frame of the roof and floor.On back of original in pencil: "9th Oct 1921" and in a different hand in biro: "Holy Trinity Church / Surrey Hills / Progress of building / 9.10.1921"holy trinity, churches, anglican churches, construction and demolition, norman carter

There is a 1991 SHNN article and photo of Nick and Judy Hilverda. The girl in the photo is Nick and Judy's daughter, Jenny.A coloured photograph shows a lady, wearing an apron, standing behind a display case full of cakes. There are wire baskets hanging from the wall in the background and another display case to the left of the picture.union road, surrey hills, businesses, cake shop, pastry shop, shopkeepers, anne's pantry, (mr) nick hilverda, (mrs) judy hilverda, (miss) jenny hilverda

Elaine D'ESTERRE Elaine D'Esterre is a fulltime artist who lives in Anglesea on Victoria's Surf Coast. Iin 1992 Elaine D'Esterre graduatued with a Bachelor of Arts (printmaking) from the University of Ballarat. The following year she was awarded a Graduate Diploma (painting) from theUniversity of Ballarat. In 2000 D'Esterre was awarded a Doctor of Philospophy from Deakin University. 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. See also 3rd Year Final Exhibition 1992' program (Historical collection 005803)Limited edition print signed at lower right.Edition: 2/4art, artwork, elaine d'esterre, d'esterre, printmaking, multimedia, available, alumni

Park Orchards Community Centre extensions and official opening

Park Orchards Community Centre extensions and official opening

Park Orchards Community Centre extensions and official opening

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Colour image of inside fortified battle area at Ngok Tavak showing tents in trench and two indigenous soldiers beside a sandbag mortar pit created for two 105mm guns. Jungle & mountains in background.battle of ngok tavak, mortar pit, nung, john white, ngok tavak, vietnam

Victor Zelman (1877-1958) was the brother of Violinist Alberto Zelman, and Ernest Zelman. He planted gum trees around his cottage, in 7th Street Hepburn Springs , and around Hepburn Pool, many of which are still standing. He was known for driving a caravan through the bush on painting expeditions. A number of photographs showing the frieze painted by Victor Zelman, at Zelman Cottage. victor zelman, zelman cottage, painted frieze, hepburn springs

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Interior of Zurich Congress Hall, Zurich, Switzerland. (Architects: M. Moser, Max Ernst Haefeli and Rudolf Steiger, 1939.)Zurich / Congress Hall Interior / 1939 (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

Part of a nurses' uniform during the Second World War. Khaki wool felt hat with wide brim and burgandy-brown grosgrain ribbon band with bow on right side. The hat also has a grosgrain sweatband with a maker's label sewn in on the interior. This is marked in ink with manufacturers' label. Elastic chip strap on interior is secure and matches colour of grosgrain.Label on interior reads "N513/1943/MADE IN AUSTRALIA/6-5/8"second world war, world war ii, world war 2, world war two, wwii, nurse, medical, women

Black and White Photograph of the interior of W2 340 showing the detail of the interior woodwork, hand rails, doors, lights etc. Photo c1960, 1970's reproduction the original print? 2nd copy added from donation of Geoff Warburton 7/10/17.Has the MMTB stamp on the rear. On rear of 2nd copy in pencil "340-interior-MMTB"trams, tramways, w2 class, interiors, mmtb, tram 340

The Creswick Lodge boasts fine examples of interior decorative painting. The banner is thought to have been painted by Angus Henderson. The interior of Creswick Freemason's Lodgefreemasons, lodge, creswick masonic lodge, banner, gold cradle

Project: Stegbar Windowalls, Springvale drawn by Robin Boyd of Romberg and Boyd; two interior perspectives. In 1952-53, Robin Boyd designed the Stegbar ‘Windowall’ - a prefabricated, structural framing/glazing system - to create a wall of windows. These ‘Windowalls’ were used extensively in domestic architecture across Australia from the 1950s to the 1970s. Boyd also designed the factory and showrooms for Stegbar Limited. The Walsh Street Archive holds exterior and interior perspectives of the building. Interior perspectives, watercolour on board.windowall, robin boyd, stegbar, ohm2022, ohm2022_35

A colour photograph of part of the interior of Past Favorites in Marysville in Victoria.A colour photograph of part of the interior of Past Favorites in Marysville in Victoria. Past Favorites was a bric a brac shop in Marysville in Victoria that was situated in Murchison Street. The building, along with most of the town, was destroyed in the 2009 Black Saturday bushfires.past favorites, marysville, victoria, murchison street, bric a brac, 2009 black saturday bushfires