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Federation University Historical Collection
Document - Document - Letter, Ballarat Junior Technical School: Letter from the National Gallery of Victoria re cartage payment, 1956
Letter from Ursula Hoff, Keeper of Prints at the National Gallery of Victoria regarding cartage payments. Postal notes paid by the school will be returned and it is necessary for the receipt No 59932 be returned to the Gallery.Schools are no longer required to pay us for the cartage of school prints. Payment now directly to the railways for cartage.Cream sheet of paper, typed Letterhead - National Gallery Victoria Signature of Ursula Hoff - penballarat junior technical school, headmaster, l garner, national gallery of victoria, cartage payments, postal notes, receipt no 59932, ursula hoff, keeper of prints -
Federation University Historical Collection
Photograph - Photograph - Colour, Sandra Opie, Victoria School, Villers Bretonneux, 18/05/2012
Built in 1923-1927, the school is the gift from the children of the state of Victoria, Australia, to the children of Villers-Bretonneux as proof of their love and good-will towards France. Twelve hundred Australian soldiers, fathers and brothers of these children, gave their lives for the heroic recapture of the town on April 24th and 25th, 1918. On the front of the building there are two plaques (one in French and one in English) referring to this. In the School Yard, as well as an Aboriginal style mural created by the students of the school and inaugurated on ANZAC Day 2009, is an inscription over the porch on a green background in yellow writing saying : DO NOT FORGET AUSTRALIA Due to the strong bond of friendship between the Australian population and the inhabitants of Villers-Bretonneux. This message expresses the need to remember and show gratitude. Also situated in the school is the Victoria Hall, with its wooden paneling, co-ordinated by the Ballarat Technical Art School with most of the carving being undertaken by Australian sculptor John Grant of Daylesford Technical College in Victoria. The carvings represent fauna and flora from Australia. (http://www.museeaustralien.com/en/?Victoria_school, accessed 04/02/2014)Photographs of each of the Pilister at Victoria School, Villers Bretonneux. Each pilister is carved with an Australian Animal.villers-bretonneux, ballarat technical art school, victoria school, victoria hall, world war, world war 1, australian animals, possum, cockatoo, kookaburra, platypus, lyrebird, koala -
Surrey Hills Historical Society Collection
Postcard, Albany Crescent,Surrey Hills, Victoria Postcard
We hold 2 copies of this post card, the image of which which had been hand-tinted. The tree guards along the street prevented horses from browsing on their bark and leaves. The street on the right is probably Beatrice Avenue. SLV collection dates the post card as c1906.A coloured stamped postcard identified as Albany Crescent, Surrey Hills, Victoria showing the tree plantings on the naturestrips, gutters and houses with picket fences.SHP2213a Postcard front "Albany Crescent, Surrey Hills, Victoria". On the back is a message addressed to Mr N Smith at Phillip Island from "Ada". SHP2213b Received 2001 See our postcard print also/ From Julie Jones Heritage Officer Whitehorse/ after Heritage Trails published/ Have an original card already.albany crescent, surrey hills, ada, mr n smith, phillip island, post cards, 1901-1910 -
Ringwood and District Historical Society
Newspaper, Scrapbook Clipping, Library Collection, Ringwood, Victoria
Newspaper Clipping from "The Mail", 12-9-1995, P 17, "Footy girls the best in Victoria"Norwood Secondary College junior girls football team proved beyond doubt last week that it was the best in Victoria. The team blitzed Benalla Secondary College 12.11-83 to -0.1-1 in the state final of the Victorian Secondary State Schools Sports Association football competition. -
St Kilda Historical Society
Card - Membership card, Protestant Association of Victoria, The Constitution We Will Support, 1858
The Protestant Association of Victoria was established in 1858. It is distinct from the Victorian Protestant Association that was established in 1917 and was active during and after World War I.The card carries the signatures of the founding members of the Association, including John Pascoe Fawkner, who, after settling in Hobson's Bay in October 1835, amassed large land holdings, was a newspaper proprietor and served on the Legislative Council for 18 years. Cream coloured card certifying the membership of James Hinds of 61 Spring Street as Member no. 17 of the Protestant Association of Victoria on 5 March 1958. Printed in dark brown/purple. Handwriting in black ink. Rules printed on the back.James Hinds of 61 Spring Street was elected as Member of the Protestant Association of Victoria on Friday the 5th of March 1958. Dated this 12th day of July 1958. Signatures of John P Fawkner (President), William Hinds (Treasurer), William Robinson (Secretary). No. 17.1858, john pascoe fawkner, 19th century, protestant association of victoria, victoria - history -
Kew Historical Society Inc
Book, Mary Ellis, People & Plants: A history of gardening in Victoria, 2003
Fish Creek., Victoria : Mary Ellis : c2003 172 p. : ill.(some col.)., ports. : 30 cm. non-fictiongardening - victoria - history, mary ellis, gardens -- victoria -- history., gardeners -- victoria -- biography. -
Marysville & District Historical Society
Photograph (Item) - Colour photograph, Travel Victoria, 2004
A colour photograph of Murchison Street in Marysville in Victoria.A colour photograph of Murchison Street in Marysville in Victoria. Shows the sign 'Mist Of The Mountains', Welcome to MARYSVILLE' sign that used to greet visitors to Marysville before the 2009 Black Saturday bushfires.murchison street, marysville, victoria, photograph, mist of the mountains, 2009 black saturday bushfires -
Marysville & District Historical Society
Photograph (Item) - Colour photograph, Travel Victoria, 2006
A colour photograph of Murchison Street in Marysville in Victoria.A colour photograph of Murchison Street in Marysville in Victoria. The photograph shows the roundabout at the corner of Murchison and Lyell Streets.murchison street, lyell street, marysville, victoria, photograph -
Marysville & District Historical Society
Photograph (Item) - Colour photograph, Travel Victoria, 2006
A colour photograph of Murchison Street in Marysville in Victoria.A colour photograph of Murchison Street in Marysville in Victoria. This photograph is taken of the view down Murchison Street from the roundabout on the corner of Murchison and Lyell Streets.murchison street, lyell street, marysville, victoria, photograph -
Marysville & District Historical Society
Photograph (Item) - Colour photograph, Travel Victoria, 2006
A colour photograph of Murchison Street in Marysville in Victoria.A colour photograph of Murchison Street in Marysville in Victoria. Shows the view looking up Pack Road. The buildings that can be seen in the photograph were all destroyed in the 2009 Black Saturday bushfires.murchison street, pack road, marysville, victoria, photograph, 2009 black saturday bushfires -
Marysville & District Historical Society
Photograph (Item) - Colour photograph, Travel Victoria, 2006
A colour photograph of Murchison Street in Marysville in Victoria.A colour photograph looking down Murchison Street in Marysville in Victoria. The Christ Church was destroyed in the 2009 Black Saturday bushfires.murchison street, marysville, victoria, christ church, photograph, 2009 black saturday bushfires -
Kew Historical Society Inc
Certificate - School Certificate, Education Department (Victoria), Merit Certificate, George Rogers, Kew East School, 1941, 1941
George Rogers of Park Crescent, Kew, was the brother of John Rogers, the donor, and the son of Dorothy Rogers.This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.Education Department of Victoria Merit CertificateEducation Department of Victoria - This is to Certify that George Rogers has completed satisfactorily the course of study prescribed for 2nd Year High School Course, date dat Kew East School this 14th of November A.D. 1941merit certificate, george rogers, education, certificate -
Stawell Historical Society Inc
Book, Henry Brown, Brown on Pleasant Creek - Extract 1862 - from Victoria as I found it. Published London 1862, 1862
Extract of Victoria As I Found It. "Brown on Pleasant Creek" By Henry Brown. Photocopied at the Public Library MelbourneLight Blue Plastic Cover with clear cutout and white paper insert with Black Print"Brown on Pleasant Creek" from "Victoria as I Found It" By Henry Brown Published London 1862stawell gold -
Kilmore Historical Society
Wyatt & Webbs Reports, Victoria. Wyatt, Webb & A'Beckett's Reports. Vol. 3. EAS:T 29 VICT. TO HIL:T 30 VICT. 1866, 1867
Reports of cases argued and determined in the Supreme Court of Victoria. From the former Kilmore Court House library.Black water-mark patterned cloth cover with leather spine & corners, worn at extremities, slightly faded cloth. Spine has a black band with gilt writing and a red band with gilt writing. 'Court of Petty Sessions Kilmore' at base of spine.Slight discolouration to edges of cover and front flyleaves, back & front. Good condition.Title page, stamp, 'Law Department Victoria' Judges list page, 'Court House/Kilmore'.kilmore courthouse library. -
Kew Historical Society Inc
Postcard, Nucolorview Productions, Queen Victoria Memorial, Melbourne, Victoria
One of a number of 'real photo' and commercial postcards created by or owned by members of the Christian and Washfold families of Kew. The postcards are part of a larger collection of photographs, postcards and publications donated to the collection in May 2021.Coloured postcard of the Queen Victoria Memorial in the Domain. An ornamental lake is in the foreground.queen victoria monument -- melbourne, sculptures -- the domain -- melbourne (vic.), christian-washfold collection -
Federation University Historical Collection
Plan, Underground Survey of Mines, Ballarat East. The Victoria United Company, 1903
Underground Survey of The Victoria United Company from Geological Survey of Victoria, Memoirs No. 4.ballarat east, victoria united company, cgt, mining, geological survey, longitudinal section -
Tatura Irrigation & Wartime Camps Museum
Book, The Official Museum Directory for Victoria - First Edition 1986, 1986
Written to provide information on Victorian Museums etc.Red covered, scene of Sovereign Hill. Pictures of Museum of Victoria and National Gallery of Victoria.locations and contents, public galleries, national trust, books, reference -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Bank of Victoria – Yackandandah III, c1983
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: ERNEST MARCUSE / BANK OF VICTORIA / YACKANDANDAH Reverse: Y 2 / 013 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
The Beechworth Burke Museum
Drawing, Ernest Marcuse, Bank of Victoria – Yackandandah II, c1982
Ernest Heinrich Marcuse was born on the 1st of December 1900 to Hedwig and Siegmund Marcuse in Berlin Germany. While Marcuse's artistic talent was apparent from a younger age, his earliest existing artwork was from when he was approximately 20 years old. Ernest's formal art training commenced in 1918 with a three year course at the Berlin school of Interior design. After completion he found work until 1924 when Germany's Great Depression took effect. To broaden his career opportunities he undertook a further 12 months study of fashion, drawing and advertising at Berlin's Reiman school of art. From 1925 to 1934 Ernest was primarily a freelance press artist specialising in industrial, architectural and figurative drawing. Prominent newspaper The Berliner Morgenpost was his largest client along with Gross Deutsche Rundfunaustellung (Germany's organisation for major trade shows). During this period he would create many significant works. Two months after Hitler and the Nazi part came to power in 1933, Ernest received a life changing letter stating that being Jewish he could no longer continue employment in Germany. Up until 1938 he would only be able to undertake private commissions and occasional unofficial work as a book illustrator and games designer. This was by arrangement with non Jewish artists who claimed his work as their own, they would then share the income with Ernest. With increasing unrest in Germany during late 1938 Ernest decided to move to London and there he married his girlfriend Lotte. In late 1939 Ernest and Lotte Marcuse embarked on an eight week journey to their new home in Australia where they had been accepted as refugees. Shortly after arriving in Australia Ernest presented his portfolio to an editor at the Argus newspaper and gained employment as a war events illustrator. He soon became well respected and known in particular for his detailed illustrations and cross sections of ships , artillery and aircrafts. His detailed depictions of battles were displayed on the front pages of The Argus newspaper on a number of occasions. In May 1940 as the war intensified Ernest was dismissed from The Argus newspaper due to his Australian government classification of 'stateless person of enemy origin' and was considered a potential security risk. The editor of the time commented "don't blame us, blame Hitler". Marcuse then began to establish himself as a commercial artist. Ernest was de-classified as a 'stateless person of enemy origin' and in early 1942. The Australian army heard of Ernest's artistic abilities and began to utilize his designs for visual training aids and posters. Ernest became Private E.H Marcuse V377746, his first army posting was as staff artist at The infantry officer's training school at Bonegilla. When off duty he was inspired by the beauty of the surrounding area creating the works in North east Victoria 'Kiewa river bridge', 'Hume weir', ' Dried up river bed' and 'Hawksview gold reef mine' from his 1942-1943 period at Bonegilla Victoria. Ernest returned to the area to create drawings and paintings from 1948 to 1983 in locations including Bright, Wandilligong, Bogong High plains and Wallace's Hut, Mt Buffalo, Beechworth, Pretty valley, Kiewa Hydro, Yackandandah and Bontherambo homestead. These sketches were often completed on location, photographs were also taken onsite to assist the works back at the studio. Occasionally Marcuse also painted in the field. Ernest's preferred choice of medium was pencil and ink. Up until 1952 he would often incorporate watercolour into his work. Later into his career he began introducing pastels, acrylic and mixed media. In earlier years Ernest Marcuse often signed his work Mar, later on the signing of works ranged from Marcuse, E.Marcuse, Ernest Marcuse, EHM or simply EM . If a work was considered incomplete or Marcuse did not like the work it would remain unsigned. From Bonegilla Marcuse was transferred to Woodside South Australia before his final posting in Melbourne until the end of 1945. Ernest's work from within his army posting 'Troop Train at Night' from his 1945 exhibition Australia at War are part of the permanent collection at Canberra's War Museum. Between 1946 and 1969 Ernest largely worked from home and concentrated on a career as a freelance commercial artist and graphic designer. During that time he created work for well known household names including CRA/Conzinc, Vacuum oil (Caltex), Cottee's Brand (Schweppes and Heinz), Home Beautiful magazine Fulton garden supplies, International Iveco trucks, Ego pharmaceuticals, QV and Sunsense. After retirement Ernest concentrated on his true love of fine art and focused on painting images of personal interest both across Australia and Internationally. Earnest never drove a car. He would often walk or use public transport or enlist in the help of family or artist friends to drive him. Throughout his career Ernest Marcuse's artworks were purchase by private collectors these included ACTU, Melbourne City council, Holland Constructions, Melbourne Metropolitan Tramways Board, GJ Coles and Australian Resources Bank. Ernest Marcuse permanent collections can be viewed at The National Gallery of Victoria , Sydney Jewish Museum, Jewish Holocaust Centre Melbourne, Canberra's War Museum, City of Melbourne, Shire of Yarra ranges and now the Burke Museum. © 2020 Art by Marcuse https://www.artbymarcuse.com.au/aboutDonated to the Burke Museum through the Australian Government's Cultural Gifts Program by Peter and Evelyn MarcusePen and pencil landscape drawing on paper.Obverse: BANK OF VICTORIA / YACKANDANDAH / ERNEST MARCUSE / Reverse: Y 4 / 015 ernest marcuse, marcuse, art, artbymarcuse, beechworth, burke museum, indigo shire, landscape, illustration, drawing, pen and pencil, australian army, war events illustrator, the age, the sun, the argus, germany, refugee, industrial drawing, architectual drawing, figure drawing, berliner morgenpost, grosse deutsche rundfunaustellung, berlin’s reiman school of art., cultural gifts program -
Port Melbourne Historical & Preservation Society
Book, Gary Presland, "First People. The Eastern Kulin of Melbourne, Poprt Phillip and Central Victoria", 2010
COPYRIGHT Gary Presland "First People. The Eastern Kulin of Melbourne, Poprt Phillip and Central Victoria" This book is, in effect, a second edition of "Aboriginal Melbourne - the Lost Land of the Kulin People" written by Gary Presland 25 years earlieraustralian aborigines, environment, aborigines, kulin, gary presland -
Federation University Historical Collection
CD-ROM, Big Cats sightings in Victoria, 2012
The CD-Rom includes a range of electronic correspondence sent 'Big Cats Victoria and Simon Townsend and JohnTurner. Their website states: Big Cats Victoria Southern Australia, including south western West Australia, has a history of reports of ‘panther’ like predators dating back to the later half of the 19th century. The animals were usually described as being of black or tan colouration and with the proportions of a medium sized big-cat such as a Leopard or Puma. The records can be found in newspaper, radio and television archives, Government reports, a very few books and on the internet. The historical material is based on anecdotal reportage and has contributed to the mythification of the subject. Some Government agencies at both State and Local levels (in New South Wales), have collected records of sightings or investigated stock deaths purported to be associated with so called ‘panther’ kills. They remain understandably non committal due to the lack of a specimen of such a predator of undeniable authenticity. While other types of unknown predator have been reported in various parts of Australia they are not the concern of this website. For purposes of economy we, John Turner and Simon Townsend, confine our investigations to western Victoria and south eastern South Australia. (http://bigcatsvic.com.au/) A CD-ROM of multiple emails and image attachments relating to assorted sightings, footprints, killings, etc from big cats in the Otways of Victoria. The electronic mail was sent to 'Big Cats Victoria' Images include: This item is part of the Australian Animal Folklore Collectionaustralian animal folklore collection, ja sharp, simon townsend, neville bayley, st kilda, peter stefanis, toolangi, puma, tom daniel, footprint, pawprint, cryptozoology, rex gilroy, lancefield tiger, anglesea, berringa, matthew charles, jutin fitzclarence, harry carlin, patty smith, johannes beach, nerida, stirling ranges, daryl hardy, brook kelly, carl rose, ashley hall, jonathan smith, sally ballieu, lorraine balck, wayne bower, ian riordon, aleda turna, john turner, dave moyle, ben rayner, stewart leach, colin boord, sheryl mahoney, beech forest, otways, tooborac, geoff black, panther, brad blake, priscilla prescott, beau kapitiany, ramsay hosn, clare jones, darren guthrie, tallarook, josh fairway, linda wescon, lithgow, john turner, southern grampians -
Marysville & District Historical Society
Photograph (Item) - Colour photograph, Travel Victoria, Unknown
A colour photograph of Murchison Street in Marysville in Victoria.A colour photograph of Murchison Street in Marysville in Victoria.murchison street, lyell street, marysville, victoria, photograph -
Glenelg Shire Council Cultural Collection
Painting, Queen Victoria, 1897
CEMA Art Collection Previously located in History HousePortrait of Queen Victoria depicting her torso and head. She looks to her right and is shown in an almost profile view. Dressed in black with a white collar, she wears a blue and white band in her hair. She wears a small gold earring, black choker with gold locket and a brooch with a man's portrait. The work has a gilded frame with some decoration and exposed canvas.Front: J.A.BRIGGS Queen Victoria, 1838-1901 Back: Painted by J A Briggs 1897queen victoria, 1800s, portrait, portrait painting, female, female portrait -
Tarnagulla History Archive
Photocopy of booklet: List of Nuggets Found in Victoria, List of Nuggets Found in Victoria, 1912 (original)
Murray Comrie Collection. Photocopy of the publication 'List of Nuggets Found in Victoria ' being No. 12 in the Memoirs of the Geological Society of Victoria.tarnagulla, nuggets, gold, mining, prospecting -
National Wool Museum
Pennant
BRIGHT VICTORIA'S BEST SPOT FOR SPORTbright, victoria -
Stanley Athenaeum & Public Room
Print - Picture, Queen Victoria
Copy of Print/picture of Queen Victoria for her Jubilee. In frame - timber with gilded oak . Red velvet inset, and acorn decoration with gilded moulding.Her Most Gracious Majesty Queen Victoria, Empress of India. From celebrated painting in possession of Her Majesty by Prof. Van Angeli. Presented with the Jubilee Number with the illustrated London Mews with special permission of Her Majesty. -
Stanley Athenaeum & Public Room
Print - Picture, Queen Victoria
Copy of Print/picture of Queen Victoria for her Jubilee. In frame - timber with gilded oak . Red velvet inset, and acorn decoration with gilded moulding.Her Most Gracious Majesty Queen Victoria, Empress of India. From celebrated painting in possession of Her Majesty by Prof. Van Angeli. Presented with the Jubilee Number with the illustrated London Mews with special permission of Her Majesty. -
Bacchus Marsh & District Historical Society
Photograph, Timmons. Clothier and Draper. Victoria House. 1883
This building was part of a range of shops known as Victoria House, built by Vere Quaile, blacksmith, in 1857. It consisted of a shop, a blacksmith's forge and wheelwright, and was located to the east of the blacksmith's forge in Main Street. Between 1874 and 1892 Francis Timmons operated a clothier and drapers business in this building.Small sepia unframed photograph on card with gold border framing photograph. The name of the business can be clearly seen above the awning. Less clear is the name "Victoria House', also above the awning. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. In handwriting: 'Victoria House'. Clothier + Draper. Main St. c.1857. Next to Blacksmith Cottage. Courtesy Mrs. Jeremeas. Photo 1883.stevenson and mcnicoll 1883 photographs of bacchus marsh and district, shops bacchus marsh vic., clothing shops, drapers bacchus marsh vic -
Ballarat Heritage Services
Ephemera - Program, Victoria Theatre Program, 1980s
The original Victoria Theatre opened on 16 February 1856 with a season by Lola Montez. She performed several farces and her famous spider dance, delighted the diggers and enraged the sensibilities of respectable people, with Henry Seekamp in the famous "whipping" incident with Montez in Ballarat. The program consisted of popular melodramas, farces and hits such as Rob Roy, The Lady of Lyons and the Count of Monte Cristo. The nautical drama Black-Eyed Susan was also very popular. This production "The Piper and Red riding Hood" was performed by The Mid-Night Players (Janet Low, Fay Jones, Natalie Jones, Fiona Hanrahan, Elizabeth Dale, Mark Jones, Bruce Roberts, Geoff Wallis, Matthew Brooks, Andrew Dark and Tom Rendall) at the replica Victoria Theatre at Sovereign Hill, Ballarat.A5 booklet with black ink printing on white card and paper.VICTORIA THEATRE THE PIPER AND RED RIDING HOOD THE MID-NIGHT PLAYERS ballarat, drama, melodrama, the piper and red riding hood, teh mid-night players, janet low, fay jones, natalie jones, fiona hanrahan, elizabeth dale, mark jones, bruce roberts, geoff wallis, matthew brooks, andrew dark, tom rendall, victorian theatre, sovereign hill -
Marysville & District Historical Society
Book - Paperback book, An Introduction to Victorian Forest Trees, 1961
A history of forestry in Victoria Paperback. Cover is green with only the title on the front cover. On the inside back cover is a map of Victoria with the state forests indicated.Stamp of Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779victoria, forestry, forest, trees