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matching sale of land
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Ringwood and District Historical Society
Flyer, Land Sale Advertisement, Oban Road Estate, Ringwood, Vic. - 1974
... Land Sale Advertisement, Oban Road Estate, Ringwood, Vic... Road Ringwood North melbourne Flyer Land Sale Advertisement ...Double-sided folded page with blue border advertising sale of Oban Road Estate Ringwood building allotments. Front page features photograph of view from the estate towards Dandenong Ranges. Centrefold pages include terms of sale, layout and features of the subdivision, and summary of local services. Photocopy of typewritten price list for the 52 lots also attached.Subdivision includes Oban Road, Ambrie Avenue, Hendra Grove, and Mullum Mullum Road. (Agent) T.M. Burke Pty Ltd., 63 Exhibition Street Melbourne, Telephone 654 4144. -
Greensborough Historical Society
Folder of documents, Black Family in Greensborough and Watsonia, 1924o
Collection of copies of documents and plans relating to land owned by the Black Family in Greensborough and Watsonia, and its sale by auction and subdivision to form the suburb of Watsonia following the building of Watsonia Railway Station in 1924History of the development of the suburb of WatsoniaLoose-leaf folder, pages in file protectorsblack family, watsonia -
Warrnambool and District Historical Society Inc.
Original document, Advertising "Homewood Estate" Terang, 1886
This notice advertises the sale of the Homewood property near Glenormiston. The sale details state that the property is 2386 acres adjoining "The Sisters" the station of the Black Brothers. The property lies on the main metal road from Terang to Ellerslie, six miles from Terang. It has frontage to Pejark Marsh/drain. It was to be surveyed and sold in blocks of 250 to 300 acres with permanent water and well covered with grasses. The sale of the property followed the death of Charles Podger who died in 1886. On his death he left his wife Ann and six children.His worth was over 20000 pounds with 16000 pounds as real estate and 4300 pounds in personal propertyThe Agent for the sale was James Jellie, solicitors were Warrnambool firm Klingender and O'Mahony and the advertisement was printed by Thomas Smith Gas printing Works Warrnambool. This document has local interest and significance as an early sales of land in the district. The names of agents , solicitors and printers were wll known in the area and the property also a large holding. The Podger name is also well represented in the district to this day.Large white rectangular sheet of paper with black text . Major sale details in heavy black text at the top with descriptive text accompanying map of subdivision of the property on the left.The following names and details are contained within the document. Homewood Estate, Charles Podger, Commercial Hotel Terang, James Jellie Fenelon Mott Surveyor, Klingender & O'Mahony solicitors, Thos, Smith Gas Printing Koroit Street Warrnamboolcharles podger, homewood estate, klingender, o"mahony, kolora, the sisters, terang -
Warrnambool and District Historical Society Inc.
Original Document, H J Paynter, Advertisement "Parkside"Estate subdivision, Circa 1935
... Street. This sheet denotes an auction of land which is situated ...This sheet denotes an auction of land which is situated close to Albert Park on the northern part of Warrnambool. The area is complete now with homes which are a mixture of brick and concrete faced houses. The agent W H Philpott was operating in Warrnambool from the 1930's though to 1950'sThis item has local interest and significance as it records the sale of Warrnambool land.Large white paper sheet with black and red text. The auction details are at the top and down the righthand side with a map of the available blocks are coloured red and outlined in black.Parkside estate, W H Philpott & Co Kepler St , R V Philpott auctioneer,Solicitors J S Tait & son. Cramer Street, Nelson Street McConnell Street.warrnambool, mcconnell street warrnambool -
Kew Historical Society Inc
Archive (Sub-series) - Subject File, Latrobe Golf Club
Kew Historical SocietySince its foundation in 1958, members of the Kew Historical Society have been compiling and storing information about subjects relating to the history of Kew and its environs, of which this file is an example. Arranged by Secondary Values (value of records to users)Subject file containing information about the Latrobe Golf Club and course. The file contains a copy of a 1959 newspaper account of the building of the clubhouse on part of the former Lucern Farm which Thomas Wills established 120 years previously. The farm was later owned by Perce Lay, a Gallipoli veteran who progressively sold off parts until only 24 aces of the original 176 acres was left. The file also has a typescript of the back of Lucern Farm sale brochure for the auction on 14/4/1956. suggesting possible uses. Also gives an account of Thomas Wills' life and the improvements he made to the land. thomas wills, lucern farm, perce lay, latrobe golf coursethomas wills, lucern farm, perce lay, latrobe golf course -
Kew Historical Society Inc
Archive (series) - Subject File, 'Bella Vista', (aka 'Malinda'), 1941-2016
Kew Historical SocietySince its foundation in 1958, members of the Kew Historical Society have been compiling and storing information about subjects relating to the history of Kew and its environs, of which this file is an example.Secondary values'Bella Vista' was a large Federation house built in 1902 which occupied the eastern corner of Thomas Street and Cotham Road. The house was built for Abel Hoadley who died in 1918. In 1937 Augustus Beker opened the property as a guest house named 'Malinda' Guest House. This closed in 1940. In 1941, the land was subdivided into four lots. During the 1940s, Fr. Maas opened a hostel for Dutch Catholic immigrants in the house. The house has now been demolished. The subject file contains an auction notice for the sale of Malinda in 1941 along with correspondence from 2016 detailing background information, a timeline of the demolition of th those, the name of the original owner, and other uses of the house's name.malinda, bella vista, cotham road, fr maas, abel hoadley, anthony heinemannmalinda, bella vista, cotham road, fr maas, abel hoadley, anthony heinemann -
Kew Historical Society Inc
Archive (Sub-series) - Subject File, FENWICK, Nicholas A, 1958
Various partiesReference, Research, InformationSecondary Values (KHS Imposed Order)Small subject file with a single copy of ‘Despatches to the Governor of New South Wales A1278’, notifying that Nicholas Fenwick is being sent to New South Wales to fill the role of Police Magistrate. The other item is a typed version of the advertisement for the Crown Lands Sale in Kew in 1851.kew (vic) - history, kew (vic) - crown land sales, nicholas a fenwick, early landowners - kew (vic.)kew (vic) - history, kew (vic) - crown land sales, nicholas a fenwick, early landowners - kew (vic.) -
Kew Historical Society Inc
Journal, Kew Historical Society, Newsletter No.133, December 2020
... . Grants / Robert Baker p3. Agreement for Sale of Land at Parish ...Stories of Diversity / Robert Baker p1. An Uncommon Year / Judith Voce p3. Grants / Robert Baker p3. Agreement for Sale of Land at Parish of Boroondara / David White p4. Adeneny Avenue: an Arcadian landscape / Suzanne McWha p7. Stuart Tovey: Kew pioneer of modern high energy Physics / Desley Reid p11. Membership & Donations p12.Published quarterly since 1977, the newsletters of the Kew Historical Society contain significant research by members exploring relevant aspects of the Victorian and Australian Framework of Historical Themes. Frequently, articles on people, places and artefacts are the only source of information about an aspect of Kew, and Melbourne’s history.non-fictionStories of Diversity / Robert Baker p1. An Uncommon Year / Judith Voce p3. Grants / Robert Baker p3. Agreement for Sale of Land at Parish of Boroondara / David White p4. Adeneny Avenue: an Arcadian landscape / Suzanne McWha p7. Stuart Tovey: Kew pioneer of modern high energy Physics / Desley Reid p11. Membership & Donations p12.kew historical society (vic.) -- periodicals., kew historical society (vic.) -- newsletters, kew historical society (vic.) -- journals -
Surrey Hills Historical Society Collection
Photograph, Scout Hall at 7 Robinson Road, Surrey Hills in 1990
The Box Hill Reporter noted on 22 January 1926 that at the monthly meeting of the Surrey Hills Progress Association the Secretary reported that “the ground had been purchased for the Boy Scout Hall, that plans had been prepared, and accepted by the building committee. As soon as the timber was available the work would be proceeded with. The Boy Scout Hall movement has been taken up by the association to try to secure a permanent meeting place for the boys of the district. Up till now they have no fixed place, nor have they had a qualified scout master. Mr. Bert Chenu, one of the committee, has been appointed to that position, and is carrying out his duties energetically. Having raised enough money to purchase the land (situated in Robinson's road, Surrey-Hills near the Drill Hall) the association's committee is now about to erect the building by means of properly organised working bees.” The Association organised markets, card evenings and dances to raise necessary funds. The volunteer labour included the parents of boys who had become scouts, led by builder Robert Hayes of 186 Union Road and his son, who was also a builder. Early ownership is unclear as it is believed that it was not purchased by the scouting movement until 1955. The hall was used by other groups as well as the scouts. Benmont Kindergarten operated on the site from c1930. This is confirmed by oral testimony, Sands & McDougall entries and the Alan Hold property register (part of the SHNC Heritage Collection.) It was also used as a ballet school and for local dances. The hall was situated on a small block of land, just 410 sq m, and in late 2019 it was put up for sale by Scouts Victoria. Most recently home to 1st Boroondara Scout Group and previously 11th Camberwell Scouts, it was sold for something near $1.3M. During May 2020 the modest hall was demolished. Items of significance were removed before the sale by Scout Heritage. A black and white photograph of a building with a small sign identifying it as 11th Camberwell Central Scout Group.robinson road, surrey hills, scout halls, scouts, buildings, structures and establishments, (mr) robert hayes, union road, builders, surrey hills progress association, benmont kindergarten, dances, ballet schools -
Monbulk Historical Society
Thomas and Lillian Cavey with sons Tom and George
Thomas William Cavey was born in 1871, he was the youngest of his family and the only child that was born in Australia. He was first employed at the lime kilns in Geelong, before moving to Queensland for 4 years where he worked as a Boundary Rider. Thomas returned to the Lilydale area to be the driver of a buggy and pair for David Mitchell of David Mitchell Quarry in Lilydale. He selected land in Seamer Road in Monbulk in about 1898, but was working for the railways in Melbourne at the time and would come up to Monbulk at weekends to clear and cultivate the land. He met Lillian Eager, probably through relatives of hers, the Wingates, who lived in Monbulk. He and LIllian were married in 1910. They bought a 22 acre property in what is now called Cavey Road. They had two sons Thomas Charles, born in 1918 and George William Born in 1923. Initially the property in Cavey Road was farmed for vegetables, fruit and berries. The land used for this was over a creek on steep land away from the house. Once the produce was harvested it was taken by flying fox, back across the creek to where it could be prepared for sale. It was then taken to the Emerald and Belgrave markets each week. Later 10 cows were purchased, and the main income from the property was the dairy which produced approximately 25 quarts of milk a day, they produced Cream and Butter and together with the milk they were delivered fresh daily in the horse and cart. Deliveries were made to Monbulk, The Patch and to the canvas town at Silvan Dam, where the workers building the Silvan Dam lived. Thomas William Cavey died in 1959 aged 89. Lillian Blanche Cavey died in 1949 aged 68. -
Koorie Heritage Trust
Book, Bonwick, James, Port Phillip settlement, 1883
... in the bush; The Governor's visit to the Yarra; Melbourne and its land ...Contents: Discovery; Mr. Grimes round the Bay, 1803; Settlement of 1803; The settlement of 1826; Hume and Hovell's overland journey; The Western Port settlement; Captain Sturt on the Murray; Portland Bay settlement in 1834; Major Mitchell's discoveries in Australia Felix; Life of John Batman; Batman's journal and report; The wild white man; The surveyor's note-book and report; Life of Mr. Fawkner before 1835; Fawkner on the Yarra Yarra; Official correspondence; The Port Phillip Association; Official recognition of trespassers; First Government of Port Phillip; Mr Gellibrand lost in the bush; The Governor's visit to the Yarra; Melbourne and its land sale; The stock question; Mr Mackillop's narrative; Progress of the settlement; The early Melbourne press; Discovery of Gipps Land; The Black Question; Narratives of Old Hands; Causes of emigration in 1835; An Overland journeyx, 537 pages, [36] leaves of plates (some folded.) illustrations (1 colour), facsimiles, portraits ; 23 cm.Contents: Discovery; Mr. Grimes round the Bay, 1803; Settlement of 1803; The settlement of 1826; Hume and Hovell's overland journey; The Western Port settlement; Captain Sturt on the Murray; Portland Bay settlement in 1834; Major Mitchell's discoveries in Australia Felix; Life of John Batman; Batman's journal and report; The wild white man; The surveyor's note-book and report; Life of Mr. Fawkner before 1835; Fawkner on the Yarra Yarra; Official correspondence; The Port Phillip Association; Official recognition of trespassers; First Government of Port Phillip; Mr Gellibrand lost in the bush; The Governor's visit to the Yarra; Melbourne and its land sale; The stock question; Mr Mackillop's narrative; Progress of the settlement; The early Melbourne press; Discovery of Gipps Land; The Black Question; Narratives of Old Hands; Causes of emigration in 1835; An Overland journeymelbourne (vic.) -- history -- to 1834. | melbourne (vic.) -- history -- 1834-1851. | port phillip bay region (vic.) -- history. -
National Wool Museum
Photograph
... Photo depicts the combined Elders, Dennys sheep sale held... and Land' who covered the sale. Those identified in the photos ...Photo depicts the combined Elders, Dennys sheep sale held at Jerilderie on 5 Oct. 1973, where 60,000 sheep were sold, which constituted the largest wool sale at that time. The photographer was Frank Johnstone, now retired, of the newspaper 'Stock and Land' who covered the sale. Those identified in the photos are: Ray Hobson in mid-foreground behind in pen, Harry Gibbs (back to hat), Ken McKenzie (hat), Clive Hoelter (book), Danny Reilly (behind leaning on fence), right - Bob Falconer (white hat).Sheep sale at Jerilderie, 5 Oct. 1973.Jerilderie Sheep Sale 5th October 1973 / 60,000,00 sheep. Largest sheep sale in Australia COMBINED ELDERS, DENNYS SALE / Ray Hobson in mid- / foreground / behind, in pen, / Harry Gibbs (back & o,hat) / Ken McKenzie (hat) / Clive Hoelter (book) / behind leaning on fence / Danny Reilly / right Bob Falconer (white hat)sheep sales, dennys, lascelles limited elders vp -
Tatura Irrigation & Wartime Camps Museum
Poster, Subdivision of Township Allotments
... Single sheet of paper, laminated. Advertising land... Allotments Single sheet of paper, laminated. Advertising land ...Poster depicting the land which was being sold by J S Darby on the 3 December 1890. Auctioneer was Martin Cussen and Co. Map shows location of land.Single sheet of paper, laminated. Advertising land subdivision for sale in the township of Rushworth. Being sold by Martin Cussen and Co, auctioneers for J S Darby. Shows map of land subdivision.rushworth, land subdivision, martin cussen and co, j s darby -
Tatura Irrigation & Wartime Camps Museum
Poster, Tatura Subdivision, 1928
Hogans Estate was privately owned land on Tatura's north side as opposed tot he government sub division when Tatura was founded.Large Tatura subdivision poster of 1928 advertising large area north of Hogan Street, named Hogan Estate. Clear plan of subdivisions. Bold print in red and blue.Great subdivision sale. Hogans Estate Tatura. Saturday 18 August 1928. J. McNamara & Co.tatura subdivision, hogans estate -
Port Fairy Historical Society Museum and Archives
Photograph
The land was bought in 1853 by John Smith and he built the house. The house was offered for sale in 1866 when George Barnacle bought it and named it 'Warwick Cottage' after his birth place. it was offered to short term tenants such as the surveyor Creed, Miss Boes a dressmaker and O'Doherty the Catholic school teacher. In 1874 Dr Rastrick was a tenant and in 1878 it was occupied by the grocer William Searle and his sister a dressmaker. Barnacle offered the cottage for sale in October 1885 advising that the iron roofed stone cottage , 4rooms, detached kitchen and outhouses had been previously occupied by W.C.Uncles and at that time William Muhleg Carpenter. It ultimately sold privately to Miss Beatty and she continued to rent it to tenants. James Kilbride was the tenant in 1887-88. The cottage was sold in 1888 to Isaac Smale. The house continued its tradition of housing dressmakers with Mrs Barby carrying on that profession in the 1940's,50's and 60's. Coloured photographcottage, building, home, house, 77 cox street, warwick cottage -
Victorian Aboriginal Corporation for Languages
Periodical, Australian Institute of Aboriginal and Torres Strait Islander Studies, Australian Aboriginal studies : journal of the Australian Institute of Aboriginal and Torres Strait Islander Studies, 2008
1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology -
Victorian Aboriginal Corporation for Languages
Book, John Ogden, Portraits from a land without people : a pictorial anthology of Indigenous Australia 1847-2008, 2008
A pictorial anthology of Indigenous Australia from 1847-2008. Published to coincide with the first anniversary of the Apology to the Stolen Generations, this title is a stunning and emotive record of the first Australians. All proceeds from the sale going to the Jimmy Little Foundation.b&w photographs, colour photographs -
University of Melbourne, Burnley Campus Archives
Flyer, Bracks Buggers Burnley, 26.02.2004
... land sale... development land sale development burnley gardens local residents ...ge development, land sale, development, burnley gardens, local residents -
Victorian Aboriginal Corporation for Languages
Book, Catholic Education Commission of Victoria, Koorie studies in SOSE : years 7-10, 2001
Section 1. Notes on the use of this resource Section 2. Policy support statements. Aboriginal Studies Policy Statement of Victorian Aboriginal Education Association Incorporated (VAEAI) National Principles and Guidelines for Aboriginal Studies and Torres Strait Islander Studies, K-12 Principles for the Introduction of Aboriginal Perspectives in the Curriculum of the Catholic School (Catholic Education Commission of Victoria Policy 1.3, 1987) Section 3. Language, culture and viewpoint: issues of terminology Section 4. Units of work Unit 1. Koorie people of south-east Australia: a contemporary view Unit 2. On sacred ground Unit 3. Koorie life in the pre-contact era Unit 4. Mulla Meea-Baa Gnuenjall: a long time ago, and today Unit 5. The land we share: human stories in the environment Unit 6. Frontier wars Unit 7. Aboriginal mission stations and reserves in Victoria Unit 8. Land, law and indigenous Australians Section 5. Directory of indigenous organisations and affiliated groups/?agencies. National organisations Victorian organisations Catholic Education Commission of Victoria Indigenous Education personnel Organisations within regions of the Archdiocese of Melbourne Organisations within regions of the Ballarat Diocese Organisations within regions of the Sale Diocese Organisations within regions of the Sandhurst Diocese Cultural centres/?camps across Victoria.maps, b&w photographsvaeai, history, curriculum development, koorie studies, catholic education commission of victoria, secondary school education, -
National Wool Museum
Dennys, Lascelles 1980 Calendar, 1980
The calendar was own by the donors father, John Arthur Ganly, who worked at Denny Lascelles most of his working life as an accountant. He started working at Denny's circa 1935 and stayed until he retired.Denny Lascelles 1980 calendar. The calendar has gold, white and red accents. Auction Sale in Sturt Street, Wagga Wagga, N.S.W., during the 1914-18 War is used as the header image.Dennys Strachan Mercantile Woolbrokers, Stock, Land and Insurance Agents 1980denny lascelles, denny lascelles wool warehouse -
National Wool Museum
Painting, The White Farm, 2020/21
The farm buildings that Linda Gallus has studied and painted are on the farmland adjoining the Leura Park properties in Curlewis, on the Bellarine Peninsula. The current owner of the property told Linda that he bought the farm in 1994. He has used it for both sheep and cattle grazing since purchasing the property. When the farmer bought the land all the buildings on the property were painted white for sale, despite the fact they were very old. The shearing shed was in use up until the time of sale but was in a bad state of disrepair. The roof, stumps and floor required replacing. The building was no longer in use after the sale, so the shearing shed gradually fell into further disrepair. The previous owner had also used the property for growing potatoes, crops and livestock, mainly sheep. Linda’s fascination with the property came when she caught a glimpse of the white chimney over the hill driving towards Point Lonsdale, which still stands proud today on the roof of the old shearing shed. The owner kindly allowed her to visit the property over the past few years to capture the buildings using photography and painting. During this time many of the buildings have fallen. Linda calls it The White Farm as there are remnants of that original white paint on the outside of most of the buildings giving it a strange and rather beautiful patina. The structures are wonderful remnants of the history of the Bellarine. Linda first spotted the old shearing shed when she was driving home to Clifton Springs from Geelong. It was the white chimney on the shearing shed that stood out behind the rolling grassy hills. It was intriguing – bright white and still in good condition, unlike the rest of the building. After further investigation Linda got to know the owner of the property and visited it frequently to draw, take photos and paint. There is a variety of lovely old buildings on the property, but it was the shearing shed that held extra fascination for Linda. The most intriguing thing for Linda was that the buildings were all painted white at some stage and now the patina of peeling paint and bleached timber brought a wonderful mood and feeling to the farm. This is what she has tried to capture in this series of 11 paintings. Most of the buildings are falling, so Linda felt an urgency to capture them using acrylic paint on canvas in order to commemorate them forever.Acrylic Paint on Canvas. The images both feature a falling down shearing shed as the central focus. The wood of the shearing shed is a central theme of importance. The old buildings were painted white for sale despite being in a state of structural instability. After time this same painted wood has been left with an interesting complex patina like film on the surface which the artist has taken great care to capture. Image 1 is titled ‘Another gust of Wind’. It shows the exterior of the shearing shed which is in the process of collapsing from the forces of mother nature. In the background of this painting another of the buildings in the ‘White Farm’ complex is visible, in addition to blue skies and overgrown green grasses. Image 2 is titled ‘Green Trough’. It features the interior of the same collapsing shearing shed. The image is painted as though the viewer is peering through a crack of the external wall. Internally a green trough is seen hanging on an internal fence. Unlike everything else in the shearing shed, the trough appears new and in good condition. It provides a strong juxtaposition to the rest of the shearing shed, and the larger surrounding ‘White Farm’ complexbellarine peninsula, the white farm, shearing shed -
Gippsland Art Gallery
Work on Paper, Dexter, William, On the Nicholson Run - Gipps Land, c.1856-57
Purchased with the assistance of the Gippsland Art Gallery Society, 2005Pencil on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Work on Paper, Gill, Samuel Thomas, Bushy Park, Gipps Land, 1868
Purchased with the assistance of the Gippsland Art Gallery Society, 2005Ink and wash on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Work on Paper, Gill, Samuel Thomas, Crossing the Tambo, Gipps Land, 1868
Purchased with the assistance of the Gippsland Art Gallery Society, 2005Ink and wash on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Photograph, Scicluna, Jo, Where the Land Lies #4, 2019
... Gippsland Art Gallery 70 Foster Street Sale gippsland ...Donated by the artist, 2019Layered archival inkjet prints on cotton raggippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Unknown Artist, Lake King, Gipps Land, from Eagle Point, c.1870s
Purchased with the assistance of the Gippsland Art Gallery Society, 2011Hand-coloured wood engraving on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Unknown Artist, A Gipps Land Track After Rain, c.1886
... Gippsland Art Gallery 70 Foster Street Sale gippsland Print ...Purchased, 1984Wood engraving on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Unknown Artist, Fishermen's Camp, Lake Victoria, Gipps Land, c.1878
Purchased, 1984Hand-coloured wood engraving on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Unknown Artist, The Aboriginal Mission Station, Ramahyuk, Gipps Land, c.1874
Donated by B. & J. Gurling, 1984Hand-coloured wood engraving on papergippsland, artwork, permanent collection -
Gippsland Art Gallery
Print, Unknown Artist, Sale, Gipps Land, c.1881
... Sale, Gipps Land... Sale, Gipps Land Wood engraving on paper Gippsland artwork ...Donated by Peter Dowling, 2018Wood engraving on papergippsland, artwork, permanent collection