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Supreme Court of Victoria Library
Portrait, John Schutt, Supreme Court Librarian, 1916/1917
This portrait was presented by the Victorian Bar to the Library in 1917 to commemorate Schutt’s fifty years as the Supreme Court Librarian. The portrait was presented at a ceremony presided over by Mr Mitchell KC who noted the “unanimity with which the members of the profession had adopted the suggestion that the eminent services of Mr Schutt should be recognised in this way.” Chief Justice Madden also spoke on this occasion and there were a number of judges and members of the legal profession present. John Schutt had been born in England in 1831 and migrated to Victoria as a young man, initially working as a school teacher he was appointed librarian, during Redmond Barry’s time in 1866. He started work in the Old Court in Russell street and would have supervised the move of the library to its new and greatly expanded premises in William Street in 1884. As well as secretary to the Library committee, he also acted as the Secretary of the Board of Examiners on occasion. After his death in 1919 in its obituary, the Williamstown Chronicle noted that Schutt was regarded as a Solon, an ancient greek law giver who gave wise advice. Away from the Court he was a councillor of many years standing in Williamstown, representing the Victoria Ward, what is now the suburb of Newport, it would appear Schutt street in Newport was named after him. His eldest son William Schutt was appointed a Supreme Court judge in 1919. The portrait of Schutt is a companion piece to the Sir Thomas a’Beckett picture painted shortly before the Schutt portrait and for the same client, they share the same frame design with gum leaf motif. This portrait was undertaken early in Meldrum’s career and before he had fully developed his theory of painting. Duncan Max Meldrum (1875-1955) was a controversial figure in his later years as he strongly opposed modernism and non-figurative art. His works are found in most of the state galleries, including a wide selection at the National Gallery of Victoria. This portrait is of interest for whom it portrays and as the work of a well known artistFull length portrait in oils of John Schutt. Schutt is standing up looking out the to the viewer. His hand rests on a small pile of books. He is dressed soberly in a three piece black suit. His white beard and hair all meticulously trimmed and realised. The props used in this painting provide the main colour as the background has become dark over the years. The books sit atop of a red and gold draped table. Behind Schutt is what appears to be a crimson velvet chair and he gives every appearence of having just arisen from the chair to engage with the viewer. The painting has an unusual light source at the foot of the painting with Schutt's legs providing shadows. Signed Meldrum lower right hand corner. Plaque inscription is John Schutt, Esq. Supreme Court Librarian -
Merri-bek City Council
Painting - Oil on canvas, Graeme Drendel, The Search Party, 1995
Local artist Graeme Drendel often depicts isolated individuals against stark Australian landscapes. Even when portrayed in group settings, Drendel’s figures exude solitude and introspection. Their expressions and attire hint at larger, obscured narratives, which the viewer is left to unravel or imagine. His paintings seamlessly blend the ordinary with the surreal, which creates a sense of uneasiness or forboding. Viewers grapple with the challenge of deciphering these compositions. -
Glenelg Shire Council Cultural Collection
Painting, Agnes Goodsir, Cherry (aka "Portrait of a Lady"), 1924
Art collection Previously located in History House. Previous Exhibition:"In a picture land over the sea ...Agnes Goodsir 1864-1939." Exhibition developed by Bendigo Art Gallery and toured from May 1998 to June 1999. Item of the Month, exhibited in Portland Foyer April 2005.The painting is a portrait of a woman dressed in black. The woman appears to be seated and is facing the viewer. She wears a black overcoat with a blue, red and white scarf. She also wears a black hat with a gold clasp. The plain background is predominately grey. The work is framed in a gilded, moulded frame and has an exposed canvas.Front: Agnes Goodsir Back: A clear plasstic pocket is attached to the backing board and contains: a fragment of an old French label and a small fragment of paper with the signature "R.D...." on it. -
Glenelg Shire Council Cultural Collection
Print - Print - Bentinck Street, 1984
CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition Part of the Angela Gee Residency 1983 and 1984Laminated screenprint depicting an early street scene of Bentinck Street in Portland. The left side of the work depicts the row of buildings along Bentinck Street with the 'Gordon Hotel' in the foreground. In the centre of the image two figures on horses ride away from the viewer. On the right is a large tree with with two figures walking below it.Front: Karina Fredericks 84' (lower right) (pencil) Back: 9 -
Greensborough Historical Society
CD-ROM, Church of Jesus Christ of Latter-Day Saints, 1881 British Census and National Index, 1881_
Comprises data for England, Scotland, wales, Channel Islands, Isle of Man by Regions, and the Royal Navy, with Family History resource File Viewer disc.Ring binder containing 24 CD-Romsfamily history -
Kew Historical Society Inc
Photograph, J F C Farquhar, Ratting on the Yarra, 1891
At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.In Farquhar’s close-up portrait of the rat catcher and his dog, the photographer excludes any extraneous data that otherwise might have provided a spatial or motivational context. The contemporary or the present day viewer is required to construct a narrative to explore or understand what is occurring. The title of the picture might incline a viewer to believe that what they see is an exercise in vermin control, and that the rat concerned might be an introduced black or brown rodent. A more likely scenario is that the rat catcher is focussed on catching ‘rakali’, a native water-rat once widely trapped for its fur. The trapping of rakali for use in the manufacture of fashionable clothing accelerated as introduced furs such as musquash became more expensive. It was not until 1938 that rakali were granted protected status.Ratting on the Yarrakew illustrated, kew where we live, photographic books, henry kellett, yarra river -
Lilydale RSL Sub Branch
Painting, Australia Remembers 1945-1995, 1995
Timber framed oil on canvas. Painting depicts a woman sitting at a table reading a letter (her back to viewer). To her left on the table is a framed photograph of a WWII soldier, immediately in front of him is a poppy and behind him to his right, is a mantel radio and to his left, an oil lamp. Timber framed oil on canvasPlaque "Lilydale Art Society Inc / Spring Show Nov 18 & 19 1995 / "Australia Remembers 1945-1995" / Art Competition / 1995/ 1st Prize / Sponsored by Lilydale Sub Branch RSL / and "Australia Remembers 1945-1995 Assoc." -
Forests Commission Retired Personnel Association (FCRPA)
Basal Area Angle Gauge
Foresters usually measure the diameter of trees at Breast Height – traditionally 4 foot, 6 inches – now 1.3 m – which is termed Diameter Breast Height Over Bark (DBHOB). Basal Area is the cross section of the tree trunk at breast height, and the sum for the stand or group of trees is expressed square feet per acre (after 1973 it was expressed in square metres per hectare). Lots of skinny trees, or a few fat ones, can have the same Basal Area, but when combined with the number of stems, Basal Area is a good indicator of stand density. Two common methods are used to measure of Basal Area – fixed area plots and angle count sampling. 1. Fixed area plots require setting out a small area, commonly 50 m x 20 m, and measuring all the trees at breast height, and doing some quick sums. 2. Angle count sampling involves a simple sweep of the forest from a fixed sampling point using a relascope, dendrometer sight, angle gauge, or glass wedge prism. This wooden builders ruler has been shaped at one end to create a shallow angle (usually less than 3 degrees). Standing in one spot, a sweep is made with the wedge held to the eye, and trees are counted as either “in” or “out”. The number of trees is multiplied by conversion factor of the wedge (10 in this case) to estimate basal area. It’s very quick and effective.Basal Area Angle Gauge The two ends fold up and one end (on the right) has been reduced in width to create a shallow angle for the viewer Home made by cutting down a wooden builder's ruler Many forestry students made their own Basal Area Angle Gauges and its thought this may be oneforest measurement -
Whitehorse Historical Society Inc.
Functional object - Camera, c1960
Kodak Junior 1 Folding bellows camera and case - takes 620 film - with a Kodette 111 shutter. It is a simple with a B & I settings - no other adjustments.|View finder in cream bakelite - has film release button to release and a forward button to release the camera bellows. Back has red film number viewer on back.Kodak on upper lens|Kodette 111 shutter on lower lensphotography, cameras -
Kiewa Valley Historical Society
Camera Box Brownie, 4/8/1925
This item represents a period in time when there was the start by manufacturing industry for targeting the medium to lower socio and economic strata of the purchasing public. It was the beginning of cheaper mass produced items for the non professional (photographer in this instance) recreational minded public. The availability of low cost items was required by an ever increasing population hungering for the "do it yourself" amateur.This camera was owned by Margaret (Peg) Shefford nee Turner, who retired to Mount Beauty in the mid 1980s. The camera was purchased in 1920 and used up to the 1940's when her her daughter, Midge Clooney used it. When the Shefford family emigrated from England to Australia (1953), it was used to take photos of the ship voyage.This item is a Campfire Box Brownie. Model "F". It is a black vinyl covered tin box shell. It has a short leather hand strap (110mm) (stamped "BROWNIE") on the top side of the box, fastened by a metal stud at each end. There are two clasps holding the front and rear sides. Viewer (photo frame number) and lens (apertures) are on opposite sides.Stamped within a circular section on the back section is "No 2 BROWNIE" underneath,"MODEL F" in smaller letters "MADE IN CANADA BY CANADIAN KODAK Co., Limited, TORONTO, ONT". a smaller circle within has "USE KODAK FILM No_ 120"portable camera, photography, hobby, low cost camera -
Learmonth and District Historical Society Inc.
Stereopticon Card Viewer, Circa 1860 to 1900
The Stereopticon Card viewer enabled the viewer to see photos which gave a "3D" imageHand held viewer for viewing 19th century "3D" cards..Made of aluminium and wood,the face piece is ingraved with decorative scrolls and the brand KEVUKO is in the centre surrounded by a circle and wheat leaves. The card holder,which slides along an aluminium arm, is wood with wire brackets to hold the picture cards. The handle is a wooden "spindle"which can fold flat."KEVUKO" -
Kew Historical Society Inc
Photograph, Deepdene Primary School, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, St Anne's East Kew, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, Kew East Primary School, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, Cr Daryl Oldaker, Mayor of Kew, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, Graeme Lindsay, Citizen of the Year, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, Graeme Lindsay, Citizen of the Year, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, 4th Kew Pack, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, 4th Kew Pack, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, Kew Recreation Centre, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992 -
Kew Historical Society Inc
Photograph, Kew Festival, 1992
The Kew Festival began in 1974. A feature of many festivals were the festival parades in which community groups participated. None of the photographs in the album are named so KHS welcomes viewers to identify participants and or locations.Photograph from an album depicting participants in the 1992 Kew Festivalkew festival - 1992