Showing 1446 items
matching copyright not for reproduction. herald sun photograph supplied by feature service
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Glenelg Shire Council Cultural Collection
Print - Print (reproduction), Will Longstaff, The Immortal Shrine, n.d
CEMA Art collection Previously located in History HouseThe print depicts a night view of a city street. In the foreground are ghosly figures completing a military march along a wide street. On the left side is a large white Remembrance Shrine with three flags hanging on individual flagpoles. In the background are numerous multi-storey buildings with a row of light streetlights in front. The work is completed in various shades of blue and mounted with brown card. Framed with a gold and black frame, the work has an exposed canvas.Front: Brass embossed plate: THE IMMORTAL SHRINE BY WILL LONGSTAFF COPYRIGHT REGISTERED Back: (No inscriptions) -
Glenelg Shire Council Cultural Collection
Photograph - Photograph - Syd Cuffe, Portland Town Crier, n.d
Syd Cuffe in Town Crier regalia on a wharf, watching ship under sail coming into a harbour, place unknownBlack and white photo. Syd Cuffe Town Crier's Regalia, in Percy St Portland deliveing a cry. Background blurredBack: white sticker 'Copyright Portland Observer', ' 2239/2' handwritten in blue biro -
Glenelg Shire Council Cultural Collection
Photograph - Photograph - Group of Town Criers including Syd Cuffe, n.d
Syd Cuffe was the Portland Town Crier from 1983 to 2013. The role of Town Crier was created for Syd Cuffe in 1983 in the lead up to Portland’s 150th anniversary celebrations held in 1984-85. 200 items from Mr. Cuffe’s estate were donated to the Glenelg Shire Cultural Collection. The items relate to his town crying activities and community work across the Shire and further afield.Black and white photo. Group of Town Criers in regalia, standing on a verandah in front of historic building iron lacework on verandah. Syd Cuffe, Portland Town Crier, part of group.Back: white sticker ' copyright Portland Observer' '2239/3' handwritten in blue birosyd cuffe, portland town crier, town crier -
Glenelg Shire Council Cultural Collection
Photograph - Photograph - Portland Library, Victoria, Portland Observer, May-97
Photographs of Portland Library - late 1990s to early 2000s, showing activities at the library and construction of additions to the building.Black and white photo. Woman sitting on chair, open suitcase beside her various items visible. Children sitting, facing her. This woman also in photos 9462, 9463, 9464.Back: white sticker, black print 'COPYRIGHT PORTLAND OBSERVER' '2655' Black biro -
Glenelg Shire Council Cultural Collection
Photograph - Photograph - Queen of the Murray Beauty Contest 1950, c. 1950
Black and white photo. group of men and women. 'Queen of the Murray Beauty Contest 1950. Women in formal wear. 8 wearing sashes, including Miss Murray Bridge, Miss Yarrawonga, Miss Renmark, Miss Swan Hill, Miss ? Queen of the Murray 1950. Other men and women ? judges.Back: 'J Moore' - red biro. Stamp - very faint 'COPYRIGHT SUNRAYSIA DAILY' -
Melbourne Legacy
Photograph, War widow and her grandchildren, 1990
Photo of a Legacy widow with three children in a kitchen. Two children are holding Legacy Appeal tins. It was taken for an article to promote a Legacy appeal in the Herald newspaper. The article explains that Legacy helped Amy Lloyd after her husband passed away a couple of years before. Mr Lloyd had served in the Middle East in World War 2 and had helped raise his grandchildren. The grandchildren, Amy 3, Justin 9, and Brenton 5, were greatly impacted by his loss. Legacy helped Mrs Lloyd with financial matters and in being granted a war widows pension. The article mentions that in 'the past the organisation primarily cared for the children and young widows of fallen comrades - now it is caring for rapidly increasing numbers of elderly widows.' In 1990 it was caring for more than 23,000 widows and the numbers were increasing by 100 a month. The estimate for 2002 was that Legacy would be caring for 45,000 widows.A record of the beneficiaries Legacy was formed to help and an example of the type of aid they can provide recently widowed women.Black and white photo of a Legacy widow and three children in their kitchen and a newspaper article from 7 September 1990.Handwritten '44' in blue pen, Copyright stamp of Herald Sun in pink ink on reverse.widows, legacy appeal, legacy promotion -
National Vietnam Veterans Museum (NVVM)
Photograph - Photograph, Framed, The Huey - Vietnam Icon, 1971
Timber framed, black matt board. Coloured photograph of a Huey flying above the jungle. The photograph is taken from onboard another Huey flying just ahead. Door & Gunner's knee is in the photo on the side.My Vietnam Collection - "The Huey", Vietnam icon, 1971, c. copyright, Leon Pavich.photograph, huey helicopter, my vietnam collection -
National Vietnam Veterans Museum (NVVM)
Photograph, Davo collects the mail - Vietnam 1971
Black timber frame, buff coloured matt board framed colour photograph of Sioux helicopter on the ground with soldier collecting the mailDavo collects the mail - Vietnam 1971 copyright Len Pavich - My Vietnam Collectionphotograph, sioux (helicopter) -
Flagstaff Hill Maritime Museum and Village
Furniture - Screen, Thomas Hope, 1905-1913
The fire screen was part of the original furnishings of the Lighthouse Keeper's Quarters in Merri Street, Warrnambool. It was made by Lighthouse Keeper, Thomas Hope. Thomas served two terms as an assistant lighthouse keeper in Warrnambool. His first term was from 1905 to 1907. He later returned from 1910 to 1913, when he was appointed as Keeper five months after the untimely death of his predecessor Peter Quinn. Woodworking was one of Thomas Hope’s hobbies, and the three-panel fire screen he made as a lighthouse keeper is now in the Flagstaff collection and is displayed in the Lighthouse Keeper’s Cottage. Thomas Hope 1857 - 1928 Thomas James Hope was born in Camden, Surrey, England in 1857. His father, also called Thomas, was reputed to be a member of the Royal Family, and Thomas Hope Junior his illegitimate son. Thomas was subsequently brought up on the estate of the Earl of Hopetoun in Somerset and it was thought that Thomas was the Earl’s grandson. Against the wishes of those in charge of Thomas, he joined the navy at an early age, seeing much of the world until he settled in New Zealand at the age of twenty-four. After some years in New Zealand, he came to Australia to live. One of the jobs Thomas Hope had prior to becoming an assistant lighthouse keeper in 1896 was as a cook in the Lunatic Asylum at Sunbury, Victoria. He served as an assistant keeper at Shortlands Bluff, Gabo Island, Split Point and Warrnambool, retiring in 1918. He bought a house in Nicholson St, Warrnambool and died in March 1928. He is buried in the Warrnambool cemetery. Thomas Hope is recorded in family history as being of short stature and, not surprisingly given his alleged aristocratic connections, possessed a beautiful speaking voice. He and his wife Elizabeth nee Waters, whom he married in New Zealand, had six children (Thomas, killed in World War One), Ellen (Nell), Nora (who was married at the Warrnambool lighthouse keepers cottage), William (who died in Warrnambool), Marion and Alan. Joseph Hoover (Dec 29, 1830, to Aug 7, 1913) Joseph Hoover, the printer of the pictures on the screen, was born in Baltimore, of Swiss-German heritage. He was trained as an architectural woodturner. In 1856 Hoover moved to Philadelphia and began producing elaborate wooden frames in his wood-turning and framing business. By 1865 Hoover had started to produce popular prints for publishers and artists, which included noted Philadelphia artist James F. Queen. In the 1880s Hoover set up a complete plant specialising in chromatography, the process of producing colour prints from lithographic plates. The coloured prints he produced were affordable to business and private customers. In 1893 his son Henry L., a trained lithographer, joined the company as overseer and it was called J. Hoover & Son. It became one of the largest in America by the turn of the century. Hoover won a medal for Excellence for his Chromolithographs of James Queen’s works. In 1904 Joseph’s other son, Joseph W, joined the business as a partner and the company was called Jos. Hoover & Sons. Hoover died of a heart attack in 1913. He was survived by his wife and six children: two sons who were also his business partners, and four daughters. The firm continued in production until around 1985. Hoover’s prints included scenes, still life and landscapes of America and other locations. They were sold in America and overseas to countries including Canada, Germany, Mexico and England. The three-panelled screen in the Lighthouse Keeper’s Cottage was made by the Assistant Lighthouse Keeper, Thomas Hope during one of his two terms at the Lighthouse Keepers' Quarters. It is the only object in the collection known to be connected to Hope. The Lighthouse Keeper's Cottage is part of the Lady Bay Lighthouse Complex, which is listed on the Victorian Heritage Register for being of historical, scientific (technological) and architectural significance to the State of Victoria.Fire screen comprising three black wood framed panels hinged together. Each panel contains a glass-encased print depicting a rural landscape. Ornate stencil cut wood edging and quilt-inspired parquetry sits above each panel. The central panel is taller than those either side. Screen is lined in black-painted cardboard.Printed at the base of each of the three prints “COPYRIGHT 1896 BY J. HOOVER & SON, PHILAD’’A.”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, firescreen, thomas hope junior, ellen (nell) hope, nora hope, william hope, marion hope, alan hope, jos. hoover & sons of philadelphia, lighthouse keeper, assistant lighthouse keeper, carved screen, merri street, lighthouse keeper's cottage, lighthouse residence, lighthouse, wood carving, lighthouse complex, lady bay lighthouse, fire screen -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, The Courier Ballarat, 2/09/1971 12:00:00 AM
Black and white photograph of SEC No. 31 at the intersection of Sturt and Lydiard St after having an accident. Photo is on the front only of the tram, one cab window smashed, dash canopy lighting cover partly torn off. Crew members - one inside tram, one on outside. Another person standing by the doorway wearing a leather apron. Trams has destination of Grey St. Sebastl" Person looking into tram wearing the leather apron is probably the driver of the Fruit truck that collided with the tram. Published in the Courier on 3/9/1971. 2nd copy added 29/5/05 - in good condition. Hi Res version added 16-12-2015. See Reg item 7132 for a poor copy of the original Newspaper which identifies both people as Nicholas Marios and D. Powell.On rear of photo "Copyright Ballarat Courier Proprietary Limited" stamp in ink - very faint.trams, tramways, accidents, ballarat, sturt st, tram 31 -
Queenscliffe Maritime Museum
Newspaper - Newspaper clip re Opening of QMC 1987, QMC Opening article 1987, c1987
QMC opening & lifeboat display.1987 OpeningNewspaper clipping re Opening of QMC 1987Reverse " Lewis Ferrier / official opening 1987-03-06 | copyright Geelong Advertiser "lifeboat 'queenscliffe', qmc opening -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, The Courier Ballarat, 2/11/1982 12:00:00 AM
Yields information about the recovery of No. 18 from Sebastopol, its storage facility and some of the people who were involved on the day.Black and White copy photograph of a newspaper photograph taken by The Courier of No. 18 being moved from Victory Park Sebastopol from the shed that it was sitting in. Photo has a number of BTPS members "pushing" the tram out of the shed. Photo taken 2/11/1982? published 4/11/1982. Photo used in the 1982-1983 annual report which dates the photo as the 2/11/1982. Copy of newspaper clipping photo appeared in, not held by Museum at date of cataloguing. Collected by Alan Bradley from the Ballarat Courier early 1980's. See Excel file "Record of Ballarat Courier Photos BTM era" (Archive Documents) for source of details.On rear stamped "Copyright, The Ballarat Courier Proprietary Limited." and in pencil "1 FC top"tramways, trams, btps, tram recovery, sebastopol, trams, tram 18 -
Marysville & District Historical Society
Postcard (Item) - Black and white postcard, Rose Stereograph Company, 1913-1967
A black and white postcard of Buxton Farm Guest House near Marysville. This postcard was produced by Rose Stereograph Company as a souvenir of Marysville.A black and white postcard of Buxton Farm Guest House near Marysville.THE ROSE SERIES P. 1847/ COPYRIGHT BUXTON FARM GUEST HOUSE, MARYSVILLE, VIC.marysville, victoria, australia, buxton farm, buxton farm guest house, rose series, p. 1847, postcard, souvenir, rose stereograph company -
Stawell Historical Society Inc
Photograph, Sister Rocks Stawell, 1920's
B/W Postcard, Rose Series of Sister Rocks StawellB/W Postcard Rose Series of Sister Rocks. Trees in foreground, boy sitting on rockThe Rose Series P.2724 Copyright The Sister Rocks, Stawell, Victoria Looking Easttourism -
Stawell Historical Society Inc
Photograph, Sister Rocks
Sister Rocks Stawell Photo by W Dawson. with man on horse drawn buggy. Photo of Sister Rocks with a man on a horse drawn buggy beside the rocks.Copyrights regd. W, A. Whitehead. Photo W. Dawson date on photocopy C 2009 -
Flagstaff Hill Maritime Museum and Village
Machine - Typewriter, 1930's
This "Remington Portable Model 5, Remington Business Service" typewriter is in very good working order and was donated in its case complete with its Operating Instructions and a Touch Method typing instruction book. The typewriter was owned by William Sack, owner of the business Sacks Jewellers at 115 Liebig Street, Warrnambool. He commenced trading in the early 1900’s; and used this typewriter in the business from its purchase date, around 1931, through until about 1996. William and his wife June had three children, Eric, Audrey and David. The children were owners/partners of Sack’s Jewellers after William’s passing in 1976. Eric and David were ‘owners of the business’, with Audrey carrying out much of the clerical work. Eric died in about 1984 and David sold the practise in 1996. During the 65 years of business the typewriter was used for all the normal applications of a jeweller’s; preparing invoices, guarantees, taxation records. But in addition the four members of the Sack family were very involved in Church activities, particularly in lay administration and lay preaching in the Baptist Church, and the typewriter gained a lot of after-hours use. The family actively supported overseas Missions in India, SE Asia, and Africa. After the sale of the business in 1996, Audrey took the typewriter home for her community activities (David got a computer). In the 1980’s David volunteered as the Clock Repairer at Flagstaff Hill for the historical instruments. In the early days this took some long hours to get the clocks working, but in recent years he has just been ‘on call’ if needed. He is an alert 85 year old and just in the last 12 months has given up a busy schedule of Sunday Lay Preaching around the district. (2015)The typewriter is of local significance, being previously owned and used by Sacks Jewellers, a local business that had been in operation for about 100 years.Typewriter, Remington, "Remington Portable Model 5, Remington Business Service". Typewriter is in black, textured hard case with lock and key. Case has leather carry handle. Company has USA, copyright 1931.Includes Operating Instructions for the Remington Portable Models 5 and 5T. Remington Typewriter Company. "Remington Portable Model 5, Remington Business Service". flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, typewriter, remington business services, office equipment, business equipment, office communication, sack’s jewellers warrnambool, warrnambool business, remington typewriter company, touch typing, william sack, david sack, warrnambool baptist church -
Port Melbourne Historical & Preservation Society
Photograph - Aerial view of 3 liners at Station Pier, Port Melbourne, 14 Feb 2001
Large colour aerial photograph of 3 liners at Station Pier. Siver Cloud - outer East; QE2 - outer West; Regal Princess - inner West. View of Port Melbourne housing and foreshore development. Women's Welcome (or band) Rotunda on left of photo. Also a newspaper copy of the photo. COPYRIGHT RESTRICTEDmaritime, piers and wharves - station pier, transport - shipping, queen elizabeth ii, regal princess, silver cloud, beacon cove, swallow & ariell ltd, band rotunda -
Port Melbourne Historical & Preservation Society
Plan - Montague Housing Development
COPYRIGHT PUBLIC RECORDS OFFICE Set of plans and documents relating to the State Savings bank, Montague Housing Development, in Gladstone St, Montague. This was an initiative of South Melbourne City Council to replace slum housing in Montague, 1935-40 .02 - 41 A4 pages including index, copies (some laminated)built environment - domestic, state savings bank of victoria -
Tarnagulla History Archive
Photograph of John and Herman Bock, in 1964 at Tarnagulla School Reunion, John and Herman Bock, in 1964 at Tarnagulla School Reunion, March 1964
Murray Comrie Collection.Monochrome photograph of John Bock (standing), and Herman Bock (seated), at the Tarnagulla State School Reunion in March 1964. John Bock is aged around 90 and Herman around 95. Stamp on reverse indicates image copyright held by Herald & Weekly Times. Probably originally created as a news/press photograph. tarnagulla, school, reunion, bock -
Glenelg Shire Council Cultural Collection
Certificate - Certificate - Certificate of Membership of St. Joseph's Union, 1883-1884, n.d
Found inside book of common prayer (3804.1) when catalogued (9 November 2006).Recto: Engraved devotional card on cream paper. Depicts young man in robes with 5 doves bearing flowers. He holds a lily in his left hand. Verso: Certificate for Frank Wright's membership to St. Joseph's Union until March 1, 1884. Copyright, 1883, Rev. J.C. Drumgoole.Front: BRING YOUR GIFTS TO THE LORD L. Turgis, Editeur 1005 á Paris (engraved, lower centre). Back: [Text over all of back] Frank Wright (signature, pendil, upper centre).certificate of membership, st josephs union -
Bendigo Historical Society Inc.
Photograph - BERT GRAHAM COLLECTION: EIGHT SWIMMERS, 1973
Black & white photograph, Bert Graham Collection, five young girls and three young boys most with towels on their shoulders posing on a grassed area at the Bendigo East Swimming Pool. On back is; To Mr. & Mrs. Graham from Heather and Desley's 1973.Ink blue ink is Copyright,The Bendigo Advertiser Newspapers.bendigo, clubs, bendigo east swimming club -
Bendigo Historical Society Inc.
Slide - DIGGERS & MINING: THE DIGGERS, c1900s
Diggers & Mining: The Diggers. 2 IMAGES. 1st soldier on bugle, caption: Another Call, 'More Men and Still More until The Enemy is Crushed. Lord Kitchener. 2nd image: Jack in a box with book titled Hughes on Sanctions. Markings: VISAR COPYRIGHT SET - THE DIGGERS, 14. Used as a teaching aid.Visaireducation, tertiary, war -
Bendigo Historical Society Inc.
Slide - DIGGERS & MINING: THE DIGGERS, c1900s
Diggers & Mining: The Diggers. Slide with 2 images. 1st image: Soldier standing by tripod, 2 narrow boardwalks in background, then a sandbagged wall, on top of wall there are images appear to be soldiers. 2nd image: Soldiers fighting in gas masks. Markings: VISAR COPYRIGHT SET - THE DIGGERS, 15. Used as a teaching aid.Visaireducation, tertiary, war -
Thompson's Foundry Band Inc. (Castlemaine)
Document - Sheet Music for Concert Band, Hal Leonard et al, Blueberry Hill, 1940
Blueberry Hill is considered a blues standard, made popular by Fats Domino. The song was first published in 1940 with the music composed by Vincent Rose (1880-1944), and lyrics written by Larry Stock and Al Lewis. This arrangement is by Johnnie Vinson and is a special edition series released by Hal Leonard. The tune was originally written for the 1941 western film "The Singing Hill" where it was first performed by Gene Autry.Blueberry Hill is considered a blues standard, made popular by Fats Domino. The song was first published in 1940 with the music composed by Vincent Rose (1880-1944), and lyrics written by Larry Stock and Al Lewis. This arrangement is by Johnnie Vinson and is a special edition series released by Hal Leonard. The tune was originally written for the 1941 western film "The Singing Hill" where it was first performed by Gene Autry. This arrangement is for Big Band and has 21 parts: 1st Bb Cornet 2nd Bb Cornet 3rd Bb Cornet 1st Eb Horn 2nd Eb Horn C Woodwinds 1st Bb Clarinet 2nd Bb Clarinet 1st Eb Alto Saxophone 2nd Eb Alto Saxophone Bb Tenor Saxophone/Bass Clarinet Eb Baritone Saxophone 1st Trombone 2nd Trombone Basses Percussion I (Snare Drum) Percussion II (Bass, Drum, Cymbal) Electric Bass 1st F Horn 2nd F Horn Baritone B.C. non-fictionBlueberry Hill is considered a blues standard, made popular by Fats Domino. The song was first published in 1940 with the music composed by Vincent Rose (1880-1944), and lyrics written by Larry Stock and Al Lewis. This arrangement is by Johnnie Vinson and is a special edition series released by Hal Leonard. The tune was originally written for the 1941 western film "The Singing Hill" where it was first performed by Gene Autry. fats domino, rock and roll, 1950s, rhythm and blues, blues, vincent rose, larry stock, al lewis, hal leonard, chappell & co, gene autry -
Eltham District Historical Society Inc
Document - Series Listing, Fraser Faithfull et al, Series 37: Eltham Festivals, photographs, 2000
985 photographs in total (most of which are snapshots): 93 B&W, 892 Colour. 1988: 108 Col; 27 B&W 1989: 130 Col; 12 B&W (many of which are larger shots - 250mm x 200mm - and copyright protected) 1990: 127 Col 1991: 343 Col 1992: 117 Col; 19 B&W 1993: 37 Col; 35 B&W 1994: 30 Colshire of eltham archives, series listing -
Mont De Lancey
Postcard - Postcards, The Valentine Publishing Co. Pty. Ltd, c 1950's
The souvenir packs of cards open up with various photographs inside. Five are published by Nucolorvue Productions, Mentone, Victoria. One set by Murray Views, Gympie, Queensland. Two sets by The Valentine Publishing Co. Pty.Ltd Melbourne. One set of Colour Photographs by Capt.Frank Hurley. The single postcard is by Valentine's "Mail Novelty" Post Card Copyright. One is addressed to 'Mrs. H. Ellis c/- Mr. E. M. Straw, Harcourt, Vic.'Nine packages of photo souvenir postcards from various Australian cities and towns and one single postcard of a Scottie dog peering out of a doorway. It has a lift up flap with mini folded photographs of Lakes Entrance underneath. Other phoyogtaph selected views and fold out photograph packets of: Sydney, Warrnambool, Mildura, Albury, Shepparton Murray Valley, Orbost Adelaide Hills. The Scottie dog card has handwritten in blue ballpoint pen on the back -' You owe me 5/-' All other sets have the publishing details and a description of the area on the back.postcards, photographic postcards, postal stationery -
Kew Historical Society Inc
Photograph - Interior, D'Estaville, c.1965
The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Interior, D'Estaville. A chiffonaire owned by the artist Alma Figuerola and located in her house, D'Estaville in Barry Street, Kew. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this.australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola -
Kew Historical Society Inc
Photograph - The Figuerola Sisters in the Garden of D'Estaville, The Age, c.1965
The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Part of a photographic series which is historically and aesthetically significant. The photographs record the interiors and exteriors of D'Estaville, an historic Kew mansion in the 1960s, and also its owner, Alma Figuerola, a pupil of Max Meldrum, and a notable Melbourne artist who lived in Kew.Alma Figuerola and her sister standing beside a creeper growing up the wall of D'Estaville, Barry Street, Kew. This is a newspaper photograph, part of a series by The Age on the artist Alma Figuerola, and is still under copyright. Alma Figuerola was a foundation member of the Kew Historical Society. She died in 1970, so the photograph predates this.australian artists, d'estaville -- 7 barry street -- kew (vic), alma figuerola -- melbourne artists -
Port Melbourne Historical & Preservation Society
Document - DVD, Public Records Office Victoria (PROV), Seamen's Mission (230 Rouse St) Port Melbourne, Public Building file, 1906
NB this does not relate to the Beach and Nott Institute, but to a separate one from Temperance Hall that leased premises in 1906COPYRIGHT PROV Seamen's Mission (230 Rouse St) Port Melbourne, Public Building file. DVD containing 14 pages of images of documents between Rev B Cozens and the Public Health Department regarding conversion of four rented rooms into a Seamen's Mission at 230 Rouse St, Port Melbourne in 1906built environment, transport - shipping, missions to seamen, societies clubs unions and other organisations, rev b cozens -
Port Melbourne Historical & Preservation Society
Plan - Montague Housing Development
Provided to PMHPS by Steve Tserkezidis and follows on from his earlier materials on the Port Melbourne State Bank houses. See item 2824. Original source Public Records OfficeCOPYRIGHT PUBLIC RECORDS OFFICE Set of plans and documents relating to the State Savings bank, Montague Housing Development, in Gladstone St, Montague. This was an initiative of South Melbourne City Council to replace slum housing in Montague, 1935-40 .03 - 40 pages; .04 - 7 pages of A2 copies (some laminated)built environment - domestic, state savings bank of victoria