This photograph is part of the Caulfield Historical Album 1972. This album was created as part of a project from approximately 1966-1972 by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. This album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia Victoria and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Photographers Jenny O’Donnell and Trevor Hart, members of Caulfield Historical Society. Some photographs are older and from unknown sources. All photographs are black and white except where stated.From Victorian Heritage Database citation for Rosemont - HO124 112 Kooyong Road Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/35588 Rosemont'' is situated at no.112A Kooyong Road, Caulfield North and was built in 1869 for Godfrey Howitt, physician, president and honorary physician of the Melbourne Benevolent Society, Council member of the University of Melbourne and founding vice president of the Royal Society of Victoria. It is historically significant (Criterion A) as an early and substantial villa residence demonstrating Caulfield's early attraction as a residential retreat for Melbourne's elite. This significance is enhanced by the associations of the place with Godfrey Howitt and later James Grice, National Bank chairman and owner of "Stonnington" in Glenferrie Road, Malvern and Thomas King, councillor and successful negotiator for the extension of the electric tramway system to the Municipality.Page 111 of photograph album with 1 photograph (portrait) of Rosemont's roof line.Handwritten: 111 [bottom left]trevor hart, caulfield, john bakewell, francis mcdonnell, gabled slate roofs, rosemont, caulfield north, kooyong road, 1860's, godfrey howitt, james grice, thomas king, decorative brickwork, bay window, garden, mansion, chimneys, victorian architectural style, polychrome bricks, roofs

This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated.Photo album of buildings in Caulfield circa 1972 compiled alongside a project to assist National Trust Australia (Victoria) in identifying buildings worthy of preservation. All photos are black and white except where stated, with 386 photographs over 198 pages. Label on front is longstanding but not original or confirmed.caulfield, photographs, photo album, trevor hart, jenny o'donnell, jenny odonnell, caulfield historical society, glen eira historical society, carnegie, caulfield east, caulfield north, caulfield south, elsternwick, murrumbeena, st kilda east, houses, mansions, churches, schools, halls, shops, post offices, cinemas, town halls, hotels, banks, vicarages, bridges, gates, convents, bowling clubs, fire stations, roads and streets, caulfield historical album, 1970's, national trust of australia, city of caulfield, glen eira city council, national trust of australia (victoria)

These boots had a metal plate inserted in sole to protect the feet of personnel wearing boot. This was after earlier boots without this protection did not protect the wearer from sharpened spikes eg bamboo set in pits or “punji” pits, during the Vietnam war. The laces were done up by knotting one end,threading from bottom hole across to opposite hole,up next hole on same side,across to opposite hole etc. This meant that only one loop per opposite holes was all exposed for a quick and easy cutting to release the boot in case of injury to wearer.These boots were typically worn on parade,training and in combat during the Vietnam war era and after.The LEFT boot solid black leather uppers with split leather tongue sewn to sides - making the boot semi water and insect proof.The sole is hard black rubber compound with 7 cleats on sole and 3 cleats on heel,all part of rubber sole. Woven black cotton laces. 30 mm leather reinforcing strip sewn on inside top of boot. 11 by 5mm metal holes per boot for laces. Sole is welded on. “Dunlop made in Australia” and “5/5” on sole in front of heel. Inscribed on top reinforced inside leather band is- “ B 22 R.B.T 1439 188” on one side and “ 5/6” on the other.boots, general purpose, g.p., vietnam war

These boots had a metal plate inserted in sole to protect the feet of personnel wearing boot. This was after earlier boots without this protection did not protect the wearer from sharpened spikes eg bamboo set in pits or “punji” pits, during the Vietnam war. The laces were done up by knotting one end,threading from bottom hole across to opposite hole,up next hole on same side,across to opposite hole etc. This meant that only one loop per opposite holes was all exposed for a quick and easy cutting to release the boot in case of injury to wearer.These boots were typically worn on parade,training and in combat during the Vietnam war era and after.The RIGHT boot solid black leather uppers with split leather tongue sewn to sides - making the boot semi water and insect proof.The sole is hard black rubber compound with 7 cleats on sole and 3 cleats on heel,all part of rubber sole. Woven black cotton laces. 30 mm leather reinforcing strip sewn on inside top of boot. 11 by 5mm metal holes per boot for laces. Sole is welded on. “Dunlop made in Australia” and “5/5” on sole in front of heel. Inscribed on top reinforced inside leather band is- “ B 22 R.B.T 1439 188” on one side and “ 5/6” on the other.boots, general purpose, g.p., vietnam war

Named to honour the work of John and Elizabeth Gould, 'The Gould League of Bird Lovers' was formed in 1909. It was originally set up to prevent bird egg collecting and to educate for the protection of Australian birds. Gould League members were recruited via schools and received membership certificates and badges. Members were encouraged to enter competitions in bird mimicry, write stories and poems and attend 'bird-day concerts'. This certificate belonged to Patricia Legge. Ruth Scott, daughter of Herbert Scott and Bertha (nee Coverdale), married David Legge. Patricia Dawn Legge and Kevin David Legge are Ruth and David's children. The Gould League has made a significant impact on generations of Australians and their environmental attitudes. Being a Gould league member as a child in primary school gave children the opportunity to belong to a group that was learning about and protecting native bushland and its wildlife. Although not operating some Australian states the Gould League continues in Victoria.A Gould League of Bird Lovers of Victoria membership certificate for Patricia Dawn Legge 1959. It has colourful illustrations of native Australian birds on a pale yellow background. The illustrations are by A.T. Mockridge, an early 20th century Melbourne commercial artist and portraitist. In a banner at the top is a photo of John Gould with GOULD LEAGUE of BIRD LOVERS around it. It has a list of patrons, presidents and the Central Council. There is also the Bird Lover's Pledge unsigned in the middle.In pen - Patricia Dawn Legge 1959certificate gould-league

This 10” (ten inch) spirit level was made from boxwood by Barringtons of London. It was used in the making of ship model Sovereign of the Seas. It is part of a collection of objects used by Jim Williams, maker of fine ship models from about 1930-1955. Most of the components for the models, as well as many of the tools, were handmade by Jim Williams. Jim’s family has donated the ship model “Sovereign of the Seas” and many tools, accessories and documents used in the making of this and other ship models have been donated to Flagstaff Hill Maritime Village. Ship model of HMS Sovereign of the Seas, scale model of 17th Century English war ship, was handmade and carved from plans, enclosed in airtight glass case. All components of that model, including even the smallest pulleys, were hand crafted using tools designed and made by Jim. Outstanding details include functional rigging and moving cannons. Please see our record 3732 of the mode Sovereign of the Seas for further details of the ship and the maker. This spirit level is connected with the hobby and skill of ship model making that has been crafted as a leisure activity for many generations. The hobby is often chosen by serving and retired mariners who appreciate the connection with maritime history. This spirit level was used by local Warrnambool man, Jim Williams, who was employed at Cramond and Dickson clothing store, and then at Fletcher Jones menswear for 27 years. It was used in making components for the model of the historic ship, the Sovereign of the Seas. The Sovereign of the Seas was a historic 17th century English war ship with important maritime heritage. Wooden spirit level. Barringtons Spirit level No 650, Warranted boxwood. Made in London. Length 10" (10 inches). Bottom corners are reinforced with metal protection. It has two levels. The vertical level is within a round cut-out in one end. The horizontal level is on the top edge, surrounded by a metal plate with two cut-outs. One side of the spirit level has a ruler marked at 1/16 inch intervals, the other side is marked at 1/8 inch intervals. There is a large circle cut-out in the end that holds the vertical level. Both sides have the manufacturer’s name, the level’s model number and the material it is made of. One side also has the city of manufacture – England. This spirit level is part of a collection of tools and accessories once used by Jim Williams, maker of a series of ship models 1930-1955 including “HMS Sovereign of the Seas”. 2x “WARRANTED BOXWOOD”, 2x “BARRINGTON’S No 650”, “LONDON”flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jim williams, james bernard williams, ship model hobby, ship model tools, ship model making equipment, ship model making accessories, barringtons spirit level, barringtons london, 10” spirit level, sovereign of the sea, ship model, hobby, ship model tool, english war ship, measuring instrument

Four page foolscap stencil duplicated instruction sheet titled "Notes for Motormen re New Weekly Tickets.", pinned in the top left hand corner. Details the new style of ESCo weekly tickets to be used in Ballarat from Monday 7/2/1927, where two types of tickets were used - Morning and Evening Tickets and Lunch Hour Tickets. Gives instructions on their use, advantages, colours, fraud protection, schedule of timing when tickets issued against the various run numbers on page 3. Page four, titled "Instructions for Conductors re New Weekly Return Tickets and Weekly Tickets" gives instructions re the issuing of 4d return tickets, a new 3d return ticket and how the colours varied with each day. Notes when the tickets will be collected by the clerk for runs 13 and 14. See Reg. Item 2498, 2499 2542 and 2543 for examples of the weekly tickets.In black ink in the top right hand corner "4/2/27" and in ink across top of instruction "Ballarat Tramway Preservation Society Catalogue No. 316."trams, tramways, esco, weekly tickets, instructions, tickets

Robin Boyd, a Fellow of RAIA since 1958, won the RAIA Gold medal in 1969 and then was elected Life Fellow the following year in 1970.Certificate from The Royal Australian Institute of Architects stating that Robin Boyd has been elected Life Fellow on 9th February 1970. It is signed by the President and Secretary. Certificate is registered No 5773. This is in a timber frame.The Royal Australian Institute of Architects. This is to certify that Robin Gerard Penleigh Boyd of Melbourne, Victoria has been elected a Life Fellow of the Royal Australian Institute of Architects, founded in the year of our Lord One Thousand Nine Hundred and Twenty Nine (1929) as The Australian Institute of Architects, and incorporated in the year of our Lord One Thousand Nine Hundred and Thirty as Royal Australian Institute of Architects for the Advancement, Protection, and Elevation of Architecture. In Witness whereof the Common Seal has been hereunto affixed as required under the Articles of Association 9th February, 1970. Signed by president and Secretary. Registered No. 5773. The reverse has Dean's framing sticker. Handwritten No 7436/D.royal australian institute of architects, fellow, raia fellow, robin boyd

Protection of Person and Property Act 1881 The ''Protection of Person and Property Act 1881'' was one of more than 100 Coercion Acts passed by the Parliament of United Kingdom of Great Britain and Ireland between 1801 and 1922, in an attempt to establish law and order in Ireland. The 1881 Act was passed by parliament and introduced by Gladstone. It allowed for persons to be imprisoned without trial. On 13 October 1881, the Act was used to arrest Charles Parnell after his newspaper, the ''United Ireland'', had attacked the Land Act. On Gladstone's return to office in 1880, William Edward Forster was made Chief Secretary for Ireland. He carried the Compensation for Disturbance Bill through the Commons, only to see it thrown out in the Lords. On 24 January 1881, he introduced a new Coercion Bill in the House of Commons, to deal with the growth of the Irish National Land League. Despite a 41-hour long fillibuster in the House by the Irish Parliamentary Party, the bill passed, among its provisions being one enabling the British government in Ireland to arrest without trial persons "reasonably suspected" of crime and conspiracy. However those arrested were often not always suspect, only supportive of the Irish National Land League's movements. Over 100 such acts were passed, some of the more notable of which were "An Act for the more effectual Suppression of Local Disturbances and Dangerous Associations in Ireland", "The Protection of Life and Property in Certain Parts of Ireland Act", and the "Protection of Person and Property Act 1881". An Irish Coercion Bill was proposed by Sir Robert Peel to calm the increasing difficult situation in Ireland as a result of the Great Famine 1844–47. The Bill was blocked and this led, in part, to Peel's retirement as Prime Minister. Later attempts to introduce Irish coercion acts were blocked by the filibustering of Joseph Biggar. As a response to the Plan of Campaign of the mid-1880s the new Chief Secretary for Ireland Arthur Balfour secured a tough Perpetual Crimes Act (1887) (or Coercion Act) aimed at the prevention of boycotting, intimidation, unlawful assembly and the organisation of conspiracies against the payment of agreed rents. The Act resulted in the imprisonment of hundreds of people including over twenty MPs. The so-called ''Crimes Act'' (or "Coercion" Act) was condemned by the Catholic hierarchy since it was to become a permanent part of the law and did not have to be renewed annually by parliament, but the Papacy issued the bull Link: "Saepe Nos" in 1888 which was uncritical of the Acts. Trial by jury was abolished. An influential analysis of the pros and cons of the Act was published in 1888 by W. H. Hurlbert, a Catholic Irish-American author. Many hundreds were imprisoned at times under the Acts, including many prominent politicians and agrarian agitators, Joseph Biggar, Alexander Blane, Michael Davitt, John Dillon, James Gilhooly, Patrick Guiney, Matthew Harris, John Hayden, J. E. Kenny, Andrew Kettle, Denis Kilbride, Pat O'Brien, William O'Brien, James O'Kelly, Charles Stewart Parnell, Douglas Pyne, Willie Redmond, Timothy Sullivan. [http://shelf3d.com/i/Irish%20Coercion%20Act, accessed 13/12/2013]A many sits on a table holding the lapels of his Jacket. ballarat irish, cabin, rent, tenants, quill, biggar, davitt

This magazine promotes the protection of wildlife and the need for proper management of national parks. Its editor Crosbie Morrison lobbied for a National Parks Authority which was finally set up under Morrison's directorship in 1957. During the 1940's and 1950's Crosbie Morrison (1900 - 1958) became Australia's best known naturalist. As a journalist with commercial radio and the Australian Broadcasting Commission, he made regular national nature study broadcasts to schools and other radio listeners for 20 years. He was the editor of Wild Life, a magazine which fostered interest in Australia's natural history and conservation, from 1938-54. (ref. CHAH web-site)This magazine reflects the work and legacy of Crosbie Morrison who campaigned for Victoria's national park system.A 100 pp magazine, covers missing, with b/ w photographs and articles on wildlife. It was intended for campers and those interested in nature. This is Volume 14 No 1.stamp of High School Orbostmagazine-wildlife morrison-crosbie natural-science

This magazine promotes the protection of wildlife and the need for proper management of national parks. Its editor Crosbie Morrison lobbied for a National Parks Authority which was finally set up under Morrison's directorship in 1957. During the 1940's and 1950's Crosbie Morrison (1900 - 1958) became Australia's best known naturalist. As a journalist with commercial radio and the Australian Broadcasting Commission, he made regular national nature study broadcasts to schools and other radio listeners for 20 years. He was the editor of Wild Life, a magazine which fostered interest in Australia's natural history and conservation, from 1938-54. (ref. CHAH web-site) This magazine reflects the work and legacy of Crosbie Morrison who campaigned for Victoria's national park system.A 398 pp soft covered magazine with green covers. The title "WILD LIFE and OUTDOORS" is in black print.Below this is a coloured drawing of two women camping on the edge of a cliff. One is hanging on to the edge looking at a bird's nest. The magazine contains articles and photographs in black / white print.on front cover - "M. Gilbert' in red penmagazine-wild-life morrison-crosbie natural-history natural-science

This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Page 196 of Photograph Album with one photograph of a Victorian house on Ulupna RoadHandwritten: Ulupna Street (crossed out) Road [ top right] / 196 [bottom right]trevor hart, chimneys, porch, garden, single storey, return verandah, ulupna road, ormond, decorative brackets, cast iron frieze, cast iron columns, full length windows, villa residence, cast iron work, victorian period

Collected by Lisa Gervasoni when she visited the ship as part of the City of Ballarat's delegation to the ship on the 9th December 2006. HMAS Ballarat (FFH 155) is an Anzac-class frigate of the Royal Australian Navy (RAN). The frigate was laid down in 2000 and commissioned into the RAN in mid-2004. Since entering service, Ballarat has been involved in border protection as part of Operation Relex II, was deployed to the Gulf for Operation Catalyst, and was one of the two ships involved in the Operation Northern Trident 2009 round-the-world voyage. Ballarat has undergone the Anti-Ship Missile Defence (ASMD) upgrade, completing in 2015. (https://en.wikipedia.org/wiki/HMAS_Ballarat_(FFH_155)Navy blue cap of heavy brushed cotton with the Navy Ceremonial badge on the left side which refers to the events of the Eureka Stockade (Ballarat, 1854) and is embroidered in white.. Hook-and-loop adjustment at the back. On the front of the cap the words HMAS Ballarat & FFH-155 are embroidered in gold and an embroidered representation of the ship is in white. Stamped into the brim is the word Navy and the Royal Australian Navy Emblem. On the outside of the cap - HMAS Ballarat FFH-155, Navy, Defend the Flag Inside label - Oakwood (03) 97986278hmas ballarat, ffh-155, royal australian navy, lisa gervasoni, navy cap

The badge design The League’s badge represents a readiness at all times to render service to Queen and country and to former comrades. It can’t be purchased and may only be worn by those who have served their country. The shield design is symbolic of the protection provided to those who wear it. Within the badge, red represents the blood ties of war that exist between comrades; white stands for the purity of the motives in joining the league – to render service without personal gain or ambition; and blue indicates a willingness to serve a comrade anywhere under the blue sky. The wattle represents Australia, with the leek, the rose, the thistle and the shamrock standing for Wales, England, Scotland and Ireland respectively.The collection of badges,medallion,issue diary and photograph shows what a soldier who served in WW1, received.It is good that this collection is still intact. Badge awarded to Driver of the 6th Field Ambulance, Malachy Sandy, no 3320,who enlisted March 6th 1915. RTA 14 Jan 1919.Metal badge with crown attached to top of badge.Two folded metal loop(for pin to attach to coat etc), soldered on back of badge. "1919" on crown."Australia" in red scroll along bottom of of badge.Engraved flowers top left and right below crown."Returned Sailors & Soldiers Imperial League" on blue circular background surrounding embossed soldier holding rifles. On the back of badge is : "Copyright / 83978 / Prouds Ltd"sandy, malachy, badge, rsl, imperial, league

non-fictionThe findings of a review into the environmental impact of remedial works being carried out on the Hume Dam.hume dam, remedial works dams, environmental impact of dams

This sign proudly hung outside the Forests Commission Victoria (FCV) Beechworth office which is now site of the Forestry Heritage Museum. The granite building in the Beechworth's historic precinct was once the Gold Warden's Office and is one of the town's original buildings. The FCV was the main government authority responsible for management and protection of State forests in Victoria between 1918 and 1983. The Commission was responsible for ″forest policy, prevention and suppression of bushfires, issuing leases and licences, planting and thinning of forests, the development of plantations, reforestation, nurseries, forestry education, the development of commercial timber harvesting and marketing of produce, building and maintaining forest roads, provision of recreation facilities, protection of water, soils and wildlife, forest research and making recommendations on the acquisition or alienation of land for forest purposes″. The Forests Commission had a long and proud history of innovation and of managing Victoria's State forests but in September 1983 lost its discrete identity when it was merged into the newly formed Victorian Department of Conservation, Forests and Lands (CFL) along with the Crown Lands and Survey Department, National Park Service, Soil Conservation Authority and Fisheries and Wildlife Service. After the amalgamation the management of State forests and the forestry profession continued but the tempo of change accelerated, with many more departmental restructures occurring over the subsequent four decades. Responsibilities are currently split between the Department of Energy, Environment and Climate Action (DEECA), Forests Fire Management Victoria (FFMV), Parks Victoria, Melbourne Water, Alpine Resorts Commission, the State Government-owned commercial entity VicForests and the privately owned Hancock Victorian Plantations (HVP).Large office sign. Hand painted in traditional FCV mission brown and gold colour scheme.forests commission victoria (fcv), forest signs

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 94 of Photograph Album with four photographs (three landscape and one portrait) of Ripponlea - stables, lookout and neighbouring cottages.Handwritten: "Ripponlea" Hotham Street [top right] / Neg 256 Dec 1972 STABLES [under top left photo] / Neg 248 Dec 1972 LOOKOUT [under top right photo] / Neg 254 Dec 1972 / COTTAGES WILLOW STREET [under bottom left photo] / Neg 259 Dec 1972 STABLES [under bottom right photo] / 94 [bottom right]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, 1860's, 1890's, 1880's, benjamin nathan, nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, guilfoyle, adam anderson, ripponlea, victorian, sir frederick sargood, architects, bricks, polychrome bricks, taylor and fitts, stables, lookouts, cottages, outbuildings, rippon lea

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.Victorian Heritage Database - Hotham Street Road Overbridge HO116 Heritage Overlay - City of Glen Eira https://vhd.heritagecouncil.vic.gov.au/places/43557 (as of 04/07/2021) The Hotham Street road overbridge is located on the Sandringham railway line between Ripponlea and Elsternwick railway stations. It is presumed to have been built by contractors Sharp and Campbell who signed a contract on 25th . November, 1881 to construct a second line of railway between Windsor and Elsternwick. This contract was completed during 1882 and the bridge may have been designed in the year when Robert Watson took over from William Elsdon as engineer in chief for the Victorian railways. It is historically, aesthetically and technically significant. It is historically significant (Criterion A) to the extent that it demonstrates the standards of construction adopted by the Victorian Railways Department when it rebuilt the lines acquired from the private railway companies, (compare the Geelong and Melbourne Railway Co's line from Newport to Geelong, acquired in 1860). It is aesthetically significant (Criterion E) as an intact nineteenth century structure of its type, many similar girder bridges having been renewed with concrete girders in recent years. The bluestone abutments demonstrate high standards of stone masonry and are representative of Departmental work of the period. This bridge forms one of a group of historic structures on the railway to Brighton Beach and therefore contributes to the line's cultural importance as a whole. The survival of the riveted iron girders with their bellied angle iron struts is important since these elements are representative of the civil engineering practices of the Victorian Railways at the time and constitute the technical significance (Criterion F) of the structure.Page 96 of Photograph Album with three photographs (one portrait and two landscape) from Hotham Street - two external views of one house and a railway bridge.Handwritten: Hotham Street [top right] / 112 HOTHAM ST [under top left photo] / BRIDGE OVER SANDRINGHAM RAILWAY [under top right photo] / 112 HOTHAM ST CNR MELBY AVE [under bottom left photo] / 96 [bottom right]trevor hart, elsternwick, hotham street, caulfield, houses, brick, bay windows, verandahs, railway bridges, tunnels, gardens, bluestone, civil engineering, victorian railways, sharp and campbell, contractors

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Glernfern H0136 https://vhd.heritagecouncil.vic.gov.au/places/57 (as at 23/10/2020) Glenfern was built on spacious grounds at the corner of Inkerman and Hotham Streets, East St Kilda in two main stages in 1857 and 1876. From 1876 to 1984 Glenfern had only two owners, including the well known Melbourne family of artists, the Boyds. The property was bequeathed to the National Trust of Australia (Victoria) in 1984 and has remained in their ownership. The original Glenfern allotment was bought by John Bakewell in 1856 and sold the following year to Francis McDonnell, a prominent Melbourne investor. By 1858, the house, rated as the most valuable in Caulfield, had been built on the site. Due to financial difficulties, McDonnell offered a number of properties for sale in 1860, including Glenfern. It was not sold at this stage, but subsequently mortgaged in 1862. In 1866 Thomas Watson purchased the property and lived there until 1876 when it was sold to Captain John T. T. Boyd and his wife, Lucy, founders of the Boyd dynasty of artists, musicians, writers and architects. The Boyd family, including twelve children, lived there until 1907, with Lucy Boyd retaining ownership after her husband's death in 1891. In 1907 the property was subdivided and the greatly reduced Glenfern portion was purchased by the Ostberg family, who lived there from 1915. In the latter years of Boyd family ownership and the Ostberg ownership, Glenfern had several tenants and was run as a school on two occasions. The Ostberg family occupancy continued until the death of Miss Amy Ostberg in 1984. From 1929 the property was listed as Glenfern Flats, necessitating various internal alterations over a period of time. The original two storey house, attributed to architect Charles Laing, was extended for the Boyd family in 1876, by architect M. Hennessy. This comprised the addition of a two storey wing to the south of the existing building. Stables were built in 1884 by the architects Smith and Johnson and other outbuildings, since removed, were recorded on the site. The gardens were developed from the establishment of the estate and remnants of early plantings, exotic trees in particular, are evident. Various additions and alterations were made to the house in the twentieth century and a separate block of flats was built on the southern boundary in c1964. Glenfern is a two storey picturesque Gothic house of stuccoed brick with steep, gabled slate roofs, elaborate bargeboards and chimneys of conjoined stacks set diagonally. The original, asymmetrically planned L-shaped house, containing the principal rooms and a rear wing, was designed with two main facades facing north and west. The north facade contains an unusual recessed pointed arch bay formed between twin chimney flues. Internally cedar joinery includes an unusual set of double doors between the drawing room and parlour, the centre pair of which fold back and then slide into the walls. Detailing of the 1876 additions copied that of the original house, including the bargeboards, chimneys and western verandah. Ownership of Glenfern passed to the National Trust of Australia (Victoria) in 1984 and in 2002 transformation of the property into a Centre for the Arts and Culture commenced. This began with the establishment of an Artist-in-residence programme, followed by the Glenfern Writers Centre. Restoration and renovation of the building has been undertaken concurrently with the establishment of this centre. How is it significant? Glenfern, East St Kilda is of architectural and historical significance to the State of Victoria. Why is it significant? Glenfern is of architectural significance as an unusually intact and rare example of the picturesque domestic Gothic Revival house in Victoria. Of particular note are the clustered chimneys, bargeboards and twin arched chimney flues and the folding/sliding cedar doors between the principal rooms. It is significant as an important work of the prominent Melbourne architect, Charles Laing. Glenfern is of historical significance for its connection with the distinguished Victorian Boyd family. It has been recorded in a painting by Emma Boyd, wife of Arthur, in 1885 and in print by writer, Martin Boyd in 1952. Glenfern is of historical significance due to its ownership by only two families from 1876; firstly the Boyds until 1907 and the Ostbergs until 1984. Of note is the resistance to redevelopment in the latter half of the twentieth century and the subsequent survival of the 1907 Glenfern estate.Page 98 of Photograph Album with two photographs (one square and one landscape) of views of Glenfern.Handwritten: "Glenfern" 417 Inkerman Street [top right] / 98 [bottom right]trevor hart, east st kilda, garden, pitched roof, glenfern, hotham street, boyd family, 1850's, 1860's, 1870's, john bakewell, francis mcdonnell, thomas watson, lucy boyd, glenfern flats, charles laing, m. hennessy, smith and johnson, stables, gothic, stuccoed brick, gabled slate roofs, elaborate bargeboards, asymmetrical, cedar joinery, verandah, national trust of australia, centre for the arts and culture, artist-in-residence, glenfern writers centre, gothic revival, clustered chimneys, emma boyd, inkerman street, north caulfield, captain john boyd, artists, writers, st kilda east, national trust of australia (victoria), caulfield, amy ostberg, architects, m hennessy, doors, chimneys, martin boyd, arthur boyd, ostberg family

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Page 101 of Photograph Album with two photographs (landscape) of a house on Inkerman Street.Handwritten: 656 INKERMAN 3/10/1972 [under top left photo] / 101 [bottom left]trevor hart, east st kilda, inkerman street, st kilda east, edwardian, timber, single storey, fretwork, garden, gable, verandahs, architectural feautures, inkerman road, caulfield north

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rosemont HO124 - 112 Kooyong Road Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/35588 Rosemont'' is situated at no.112A Kooyong Road, Caulfield North and was built in 1869 for Godfrey Howitt, physician, president and honorary physician of the Melbourne Benevolent Society, Council member of the University of Melbourne and founding vice president of the Royal Society of Victoria. It is historically significant (Criterion A) as an early and substantial villa residence demonstrating Caulfield's early attraction as a residential retreat for Melbourne's elite. This significance is enhanced by the associations of the place with Godfrey Howitt and later James Grice, National Bank chairman and owner of "Stonnington" in Glenferrie Road, Malvern and Thomas King, councillor and successful negotiator for the extension of the electric tramway system to the Municipality.Page 110 of photograph album with 4 photos (portraits) of varying views of Rosemont's exterior and garden.Handwritten: "Rosemont" 112 Kooyong Road [top right] / Neg 97 1972 / [under top right photo] / 110 [bottom right]trevor hart, caulfield, john bakewell, francis mcdonnell, gabled slate roofs, rosemont, caulfield north, kooyong road, 1860's, godfrey howitt, james grice, thomas king, villa residence, decorative brickwork, curved windows, bay window, garden, victorian style, mansions, polychrome bricks, porches, arches, parapets, verandahs, slate roofs

This photograph is part of the Caulfield Historical Album 1972. This album was created as part of a project from approximately 1966-1972 by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. This album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia Victoria and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Photographers Jenny O’Donnell and Trevor Hart, members of Caulfield Historical Society. Some photographs are older and from unknown sources. All photographs are black and white except where stated. Vol 1 of 4 "Caulfield's Heritage" p34 states that this mansion was demolished in 1972.Page 115 of Photograph Album with two colour photographs (one portrait and one landscape) of different views Royston in its garden.Handwritten: 115 [bottom left]trevor hart, caulfield north, kooyong road, 1860's, mansion, ornamented corner stones, royston, renwick, curved windows, ruins, bay windows, victorian architectural style, polychrome bricks, abandoned buildings

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Page 118 Photograph Album with one photograph (landscape) of a brick house at Leamington Crescent.Handwritten: 21 Leamington (Street) [crossed out] / Crescent [top right] / 118 [bottom right]trevor hart, verandah, arched windows, leamington crescent, ornate cornerstone, slate roof, triple windows, decorative brackets, eave brackets, leamington street, caulfield east, cast iron frieze, victorian architectural style, cast iron work, polychrome bricks

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Lirrewa - HO39 Tarqua and Stables, 1-3 Lirrewa Grove Caulfield South https://vhd.heritagecouncil.vic.gov.au/places/120932 (as at 26/10/2020) "Tarqua", now "Lirrewa", is situated at nos. 1-3 Lirrewa Grove, Caulfield South, and was built in 1886 for Montague William Langdon, son of the merchant Joseph Henry Langdon of nearby "Rosecraddock". It is historically and aesthetically significant. It is historically significant (Criterion A) as one of the Langdon family residences, comparing in Glen Eira also with "Rosecraddock" at 10 Craddock Avenue (1857) and "Hengar" at 356 Glen Eira Road (1889-90). It is aesthetically significant (Criterion E) for its capacity to demonstrate the stylistic influences prevailing at the time especially for substantial residences. At "Tarqua", the design acknowledges the prevailing popularity of the Italian Style in the shallow hipped roof form and symmetrical facade as well as the picturesque Gothic Revival style demonstrated especially by the use of pointed arches, fretted barges and the battlemented parapeted section. This latter style was particularly attractive to persons of means on account of its English precedents, the combination of influences being skillfully handled in this instance.Page 120 of Photograph Album with six photographs (all landscape) of views of Lirrewa, mostly including its garden.Handwritten: "Lirrewa" 1-3 Lirrewa Grove [top right] / 120 [bottom right]trevor hart, verandah, lirrewa, tarqua, 1880's, montague william langdon, italian style, shallow hipped roof, symmetrical facade, gothic revival, pointed arches, fretted barges, battlemented parapet, terraces, boom era, single storey, timber roof brackets, frieze, gables, cast iron ridging, lirrewa grove, cast iron work, caulfield, arches, parapets, gardens, houses, victorian style, caulfield south

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for - HO39 Tarqua and Stables, 1-3 Lirrewa Grove Caulfield South https://vhd.heritagecouncil.vic.gov.au/places/120932 as at (26/10/2020) "Tarqua", now "Lirrewa", is situated at nos. 1-3 Lirrewa Grove, Caulfield South, and was built in 1886 for Montague William Langdon, son of the merchant Joseph Henry Langdon of nearby "Rosecraddock". It is historically and aesthetically significant. It is historically significant (Criterion A) as one of the Langdon family residences, comparing in Glen Eira also with "Rosecraddock" at 10 Craddock Avenue (1857) and "Hengar" at 356 Glen Eira Road (1889-90). It is aesthetically significant (Criterion E) for its capacity to demonstrate the stylistic influences prevailing at the time especially for substantial residences. At "Tarqua", the design acknowledges the prevailing popularity of the Italian Style in the shallow hipped roof form and symmetrical facade as well as the picturesque Gothic Revival style demonstrated especially by the use of pointed arches, fretted barges and the battlemented parapeted section. This latter style was particularly attractive to persons of means on account of its English precedents, the combination of influences being skillfully handled in this instance.Page 121 of Photograph Album with one landscape photograph of Lirrewa - external view of a bay window.Handwritten: Lirrewa [top left ] / 121 [bottom left]trevor hart, verandah, lirrewa, tarqua, 1880's, montague william langdon, italian style, shallow hipped roof, symmetrical facade, gothic revival, pointed arches, fretted barges, battlemented parapet, ornamented parapets, terraces, boom era, timber roof brackets, frieze, gables, cast iron ridging, lirrewa grove, bay window, cast iron work, lead lights, houses, victorian style, caulfield, caulfield south

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Page 122 of Photograph Album with one landscape photograph of a house at 7 Lucan Street.Handwritten: 7 Lucan Street [top right] / 122 [bottom right]trevor hart, caulfield north, villa residence, verandah, terraces, timber roof brackets, gables, cast iron ridging, ornate plasterwork, arched windows, curved windows, chimneys, lucan street, victorian style, cast iron work, houses