Coloured photograph of the artist's watercolour - Hustler's Reef Mine, from a different perspective Artist - John Hall Photograph mounted with green cardboard borderJohn Hall, artist

Colour slide in a mount. Magazine image of Sarasota High School Dining Room perspective (1958-1960), Sarasota, Florida. (Architect: Paul Rudolph.)Encircled 19 (Handwritten)slide, robin boyd

Colour photograph of demolition underway of the Bendigo Regional Library Building, Thurs.20/01/1983. Contains two photos and envelope description of perspective.bendigo regional library, demolition, 1983

The Kew Civic Centre (A K Lines, MacFarlane & Marshall, 1972) was built next to the Kew Civic Hall (A C Leith & Bartlett, 1960) on the site of the former mansion Ordsall (later renamed South Esk). Whereas the entrance to the Civic Hall was positioned off Civic Drive, the main entrance to the Civic Centre faced Cotham Road, as shown in the undated perspective drawing of the proposed building. The Civic Hall was used for public functions and performances, while the Civic Centre was used for civic offices. It also contained the Council Chamber. The building opened in 1972, following the relocation of the councillors and council officers from the former Town Hall in Walpole Street (now a Woolworth's supermarket). Following the amalgamation of the former City of Kew into the City of Boroondara in 1994, the Civic Centre was sold to Trinity Grammar School. The exterior of the Centre has been modified by Trinity Grammar.A report for Heritage Victoria (date) describes how two architectural firms dominated the designs for new civic buildings in Victoria during the post war period. The report claims that: "An interesting sub-theme in the erection of post-war municipal offices in Victoria is that a considerable proportion were designed by the same three or four Melbourne-based architectural firms, who established themselves as the leading specialists in this type of work. The two most prolific firms in this regard were A K Lines, MacFarlane & Marshall, and A C Leith & Bartlett; both, in fact, had made names for themselves as designers of local government offices prior to the Second World War. Lines' office, for example had designed the Eltham Shire Offices in 1941, while Leith's firm had been responsible for the celebrated Heidelberg Town Hall in 1937). Both practices parleyed this early experience into a lucrative post-war career, designing numerous municipals offices well into the 1970s." (Survey of Post-War Built Heritage in Victoria, Built Heritage Pty Ltd, 2010.) The perspective drawing importantly captures the original design and function of the exterior of the building and its public entrance.Hand-coloured perspective sketch of the new Kew Civic Centre, completed in 1972 to designs by A K Lines, MacFarlane & Marshall; and located on the corner of Charles Street and Cotham Road, Kew. The sketch represents the front elevation of the building and its relation to the preexisting Kew Civic Hall at right. The three storey building features strong vertical concrete buttresses that extend across the three levels. KEW CIVIC CENTRE / A K LINES, MACFARLANE & MARSHALLkew civic centre, a.k. lines, macfarlane & marshall, architectural drawings, civic buildings -- kew (vic.), town hall -- kew (vic)

In 1961 Robin Boyd designed the Tower Hill Reserve Visitors Centre to fit naturally within the surrounding terrain. The building’s shape reflects a volcanic cone. The windows allow a 360-degree view of the park. The Centre opened just after Robin Boyd’s death in October 1971. Project: Tower Hill Lake Reserve Museum drawn by Robin Boyd of Grounds, Romberg & Boyd. Drawing no 2. General view and external perspective. Watercolour on dyeline. tower hill, robin boyd, ohm2022, ohm2022_15

Art Collection Previously located in History HouseThe painting depicts the Portland Port from an aerial perspective. The perspective is taken from the ocean looking down across the Port and into the town of Portland. Within the foreground is the ocean beyond the Main Breakwater, the Main Breakwater and the Port. Within the Port nine large ships are docked and another is being brought into the Port by two tugboats. The background features a distant view of the town of Portland and the landscape beyond the township. The work has a white wooden frame and glass.Front: TROMPF (white paint, bottom right corner) Back: (no inscriptions)

Jean Harkins describes the interdependence of language forms and meanings in their cultural context. A full and varied dialect of English, Aboriginal English with its distinctive Aboriginal world view offers a rich perspective.yipirinya school, aboriginal english, pidgin english, bilingual education

Yields information about the appearance of three Ballarat trams, owned by the BTM in front of the depot 1992.Colour photograph of the BTM depot from the south east perspective with horse tram on No. 7 road, 26, 27 and a SEC tram, 11.1992, photograph by Earl Ewers. Printed on Agfa paper. On rear in pencil in bottom left hand corner. "Earl R. Ewers / 11.1992 Ballarat"trams, tramways, depot, horse tram, tram 1, tram 26, tram 27

Australian 1st Division Camp at MenaUniqueInteresting photo showing the Mena camp of the Australian 1st Division from two perspectives. The spread was over several miles and some idea of the size can be made from the images of the Pyramids.

black and white postcard. On top of card ' Brooklands, View from Public Enclosure' Image taken from the perspective of the public enclosure. Two trees in foreground, people walking. Racetrack in background, pavilions visible.Valentine's Series, printed in Great Britainevent, sports, brooklands motor course, weybridge, uk

Two colour photogrphs of Bendigo Town Hall, 9A Hargreaves Street frontage facing Bull Street, taken in 1991 9B view of Bendigo Town Hall perspective of Hargreaves Street & parkland facades, taken 1996Estelle Hewston

Laminated screenprint of Portland harbour from the perspective of a boat looking back towards the shore. In the foreground is the front of the boat and four birds about to take flight from the water. The background features a few boats and the buildings along Bentinck Street.

Red soft covered book used for machine drawing.technical drawing, machine drawing, perspective, shadow lining, thomas jones, t. gilbert jones, london

Port of Portland Authority archives.Front: (no inscriptions) Back: (no inscriptions)port of portland archives

Port of Portland Authority archives.Front: (no inscriptions) Back: GOLDEN CASTLE BAGGED RICE 13-4-76 (centre, pencil)port of portland archives

Norm Harris Collection charcoal sketch of Post Office & Court House, by R. Heddle. The sketch features the left side, with the clock tower and includes the front and partial left side of the building.The sketch is perspective ,with the tower to the left of centre to incorporate the entire front of the building .R. Heddledrawing, charcoal, post office and court house

Two colour photographs of a well which remains on vacant land at front of Living and Learning Centre, Eltham. 1. Perspective showing well with Main Road and Eltham Hotel in background 2. Looking into the bottle shaped well which is approx. 3m deep and 2m diameterwells, eltham, living and learning centre, main road

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

Chapters: Language & Communication; Historical Perspective: Learning; Language use in Multilingual Malaysia; Language Impairment; Descriptions of Linguistic Categories; Effects of Language Impairment; Strategies to enhance Early Communication Skills; Teaching your Child; Suggested Activities that can promote Language Development; Frequently Asked QuestionsB&w illustrationslanguage and learning, language impairment, sociolinguistics

This article references 'The Great Great Australian Dream' by Robin Boyd and other references to Boyd's ideas and perspectives.Handwritten at top left in pencil "Boyd Meanjin". Robin Boyd is underlined in the first and second column of text.the great great australian dream, austrophobia, robin boyd, walsh st library

Page from Shopell's Modern Houses catalogue of October 1886, entitled 'PERSPECTIVE VIEW OF DESIGN NUMBER 398', featuring a lithograph depicting a large house in a clearing and people playing tennis on the lawn in front of it. Photocopy of magazine cover is adhered to backing of frame. Materials: Paper, Ink, Wood, Cardboard, Glasstennis

The River Yarra was a popular subject for photographic postcards. The postcards provide an interesting perspective of plantings on the banks of the Yarra at various periods. Small, sepia coloured real photo postcard of the River Yarra at Kew. The bird's eye view, presumably taken from Victoria Street Bridge shows the banks of the Yarra in the foreground densely planted with weeping willows. There is also canoe in the foreground. The expanse of lawn in the middle ground is that of 'Swinton', the tower of which can faintly be seen at the top centre of the view. "RIVER YARRA AT KEW / REAL PHOTO SERIES M. 2908 "real photo postcards, yarra river -- kew (vic.), postcards -- 1920s

Also one other photograph, size 15 x 10, different perspective, with lake and sanddunes in background, donated by Vera BennettColour photograph of the Lakes Entrance War Memorial when situated on south side of Esplanade, west of Bank Jetty. Shows monument with inscriptions and tall four-sided pillar on concrete forecourt, two flagpoles and low seating. Lakes Entrance Victoriaworld war 1914-1918, memorials

Project: Tower Hill Lake Reserve Museum drawn by Robin Boyd of Grounds, Romberg & Boyd. Drawing no 1. Aerial perspectiveSketch, Dyeline