Historic Buildings of Victoria 278 pages, with photos , illustrations and maps.David Saundersvictoria, history, architecture, victorian buildings, architecture, historic buildings

Robin Boyd was the architect of the Featherstone House, 1969.An Award of Merit to The Featherstone House, Ivanhoe. It is signed by Chairman, J Gates (?) and Secretary, P A Love (?). It is rolled and tied with blue ribbon.Victorian Architecture Award. In accordance with the decision of the Victorian Chapter: The Royal Institute of Architects to record its appreciation of the architecture. Architect Romberg and Boyd Builder P.M. Versteegen & Sons Pty.Ltd. Signed by the Chairman and Secretaryroyal australian institute of architects, raia award, featherstone, robin boyd

Lydiard Street is known as an axcellent example of Victorian architecture.Various views of Ballarat's Lydiard Street Northballarat, lydiard street north, buildings, aerial, birds eye, sebastions, regent cinema

This house won the Victorian Architecture Medal for the RAIA’s Best House Of The Year in 1965.Colour slide in a mount. The Williams House (1963), 4 Glenard Drive, Eaglemont, Victoria, Australia. (Architect: Charles Duncan.)Made in Australia / 30 / JAN 65M / House, Glenard Drive, Ivanhoe (Handwritten) / Charles Duncan melbourne, slide

The artefact is a white marble tile raised from the wreck of the LOCH ARD (1878). The cargo manifest of the sunken vessel has the entry “Marble £400”. This is placed directly following the entry “Glass (604 cases)”. This conjunction suggests the marble tile was originally part of a consignment intended for use in a ‘high end’ residential or public building project in the gold and wool rich Colony of Victoria. Traditionally, white or cream marble was imported into Britain from the Mediterranean region of Europe, where beds of sedimentary limestone (calcium and magnesium carbonate) had been buried over a long geological period of time. Deep in the earth’s crust, it had been subjected to immense pressures and high temperatures, sufficient to completely re-crystallise the original deposits. Marble beds began as layers of sediment at the bottom of ancient tropical seas, forming from the skeletal remains of calcareous fossils, shell, and coral fragments. The metamorphic process of prolonged compression and heating recrystallised this skeletal material, destroying all signs of the original sedimentary fabric. The resulting ‘true’ marbles of, for example, White Carrara (Tuscany, Italy), Verdi (green) Antico (Thessaly, Greece), and Rouge (red) Languadoc (Carcassone, France), were highly prized in classical decoration (sculpture and friezes) and architecture (temples and arches). Marble was found in nineteenth century Australia, but in small, uneconomic deposits, not suitable for commercial quarrying. The comparative expense of imported marble restricted its use in colonial buildings to carved fireplaces and mantel pieces, or outdoor ornaments such as fountains, statuary and grave stones. If Carrara marble floor tiles were used, they were used sparingly, as an arresting feature in entrance halls for instance. However, most prominent private and public construction used timber flooring, waxed or ‘japanned’, with carpet runners and rugs (for example the Austin’s Barwon Park Mansion, 1871), or laid tessellated and ceramic tiles of baked clay infused with colour (for example the Chirnside’s Werribee Park Mansion, 1878). HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The wreck of the LOCH ARD is of State significance — Victorian Heritage Register S417 Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. A square marble tile retrieved from the wreck of the LOCH ARD. Most of its surface is covered by a thin layer of limestone and marine growth encrustation that is stained rust-red. The tile is ‘rough-worked’, cut to shape and size, but not smoothed or polished. There is a companion tile in similar condition in the Flagstaff Hill collection. From visual observation of the original surface (at low magnification) the tile appears to be of white Carrara-type marble.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, white marble, marble tile, carrara marble, imported marble, colonial architecture, victorian building materials

The artefact is a white marble tile raised from the wreck of the LOCH ARD (1878). The cargo manifest of the sunken vessel has the entry “Marble £400”. This is placed directly following the entry “Glass (604 cases)”. This conjunction suggests the marble tile was originally part of a consignment intended for use in a ‘high end’ residential or public building project in the gold and wool rich Colony of Victoria. Traditionally, white or cream marble was imported into Britain from the Mediterranean region of Europe, where beds of sedimentary limestone (calcium and magnesium carbonate) had been buried over a long geological period of time. Deep in the earth’s crust, it had been subjected to immense pressures and high temperatures, sufficient to completely re-crystallise the original deposits. Marble beds began as layers of sediment at the bottom of ancient tropical seas, forming from the skeletal remains of calcareous fossils, shell, and coral fragments. The metamorphic process of prolonged compression and heating recrystallised this skeletal material, destroying all signs of the original sedimentary fabric. The resulting ‘true’ marbles of, for example, White Carrara (Tuscany, Italy), Verdi (green) Antico (Thessaly, Greece), and Rouge (red) Languadoc (Carcassone, France), were highly prized in classical decoration (sculpture and friezes) and architecture (temples and arches). Marble was found in nineteenth century Australia, but in small, uneconomic deposits, not suitable for commercial quarrying. The comparative expense of imported marble restricted its use in colonial buildings to carved fireplaces and mantel pieces, or outdoor ornaments such as fountains, statuary and grave stones. If Carrara marble floor tiles were used, they were used sparingly, as an arresting feature in entrance halls for instance. However, most prominent private and public construction used timber flooring, waxed or ‘jappaned’, with carpet runners and rugs (for example the Austin’s Barwon Park Mansion, 1871), or laid tessellated and ceramic tiles of baked clay infused with colour (for example the Chirnside’s Werribee Park Mansion, 1878). HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The wreck of the LOCH ARD is of State significance — Victorian Heritage Register S417 Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. A square marble tile retrieved from the wreck of the LOCH ARD. Most of its surface is covered by a thin layer of limestone and marine growth encrustation that is stained rust-red. There is a piece of corroded iron encrusted at an oblique angle on the tile’s rear face. The tile is ‘rough-worked’, cut to shape and size, but not smoothed or polished. There is a companion tile in similar condition in the Flagstaff Hill collection. From visual observation of the original surface (at low magnification) the tile appears to be of white Carrara-type marble.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, white marble, marble tile, carrara marble, colonial architecture, victorian building materials

Lydiard Street is a street in central Ballarat known for its Victorian architecture. The building with clock tower is the former Ballarat Post Office, the tower stage of the building dating from 1885. It sits on the corner of Sturt Street. Black and white photograph of Lydiard Street Ballarat.lydiard street ballarat, ballarat post office, tram, streetscape, architecture, vintage cars

Bendigo Advertiser "The way we were" from 1999. Rollerston: initially titled 'Del Oro' (meaning golden), this house remains a fine example of late Victorian domestic architecture.newspaper, bendigo advertiser, the way we were

Spring Street is culturally important to Victoria and is associated with the central spine of the administration of the Government of Victoria, as well as being central to many of the state's major cultural institutions. It is also notable for its Victorian architecture including the landmarks Victorian Parliament House, the Old Treasury Building, the Windsor Hotel (also known as Duchess of Spring Street) and the Princess Theatre. (Wikipedia)A colour photograph of Melbourne taken from above, showing Parliament House is Spring Street, with Russell Street in the midground. melbourne, spring street, victorian partliament house, windsor hotel, russell street

After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 22 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view. (Margaret Picken, 2020)Built in 1968-1970 to a design by Graeme C Gunn, 76 Molesworth Street is one of a series of innovative townhouse developments undertaken by Merchant Builders in the late 1960s, this particular example was the recipient of the Bronze Medal at the Victorian Architecture Awards in 1970. The drawing is one of a series created by Margaret Picken for a number of real estate agents in Melbourne between 1983 and 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020Pen and ink architectural drawing on drafting film of 2/72 Molesworth Street, Kew by Margaret Picken.2/72 MOLESWORTH ST., KEW / MARGARET PICKEN ~98 / WOODARDS ~ HAWTHORN (REAR VIEW)artist -- margaret picken 1950-, architectural drawings -- houses -- kew (vic.), 2/72 molesworth street - kew (vic)

This photograph depicts the entrance to the Burke Museum in Beechworth, most likely in 1980. The building was originally established as the Beechworth Athenaeum in 1857 to provide a lecture hall and reading room at the peak of the gold rush. In 1859, it became the Beechworth Public Library, which is why the writing embossed above the main entry says 'Library' rather than 'Museum'. The building was turned into a museum and renamed the Robert O'Hara Burke Memorial Museum in 1863 in honour of Robert O'Hara Burke, former Police Superindendent of Beechworth who died in 1861 on the Burke and Wills expedition. The Burke Museum has been in almost continual operation since that time. In the 1970s, the building underwent renovations to create several verandas, though the main façade visible in this photograph remained as it was when originally built. The Burke Museum currently contains over 30,000 individual objects, including the Gold Rush era items and the Ned Kelly collection advertised on the a-frame in the photograph. The photograph itself is also part of the Burke Museum collection.The Burke Museum itself is very significant to Victorian history. It is on both the Victorian Heritage Register and is part of the National Trust due to its relevance to the history of the Gold Rush period, its architectural features, and its significant collection. Photographs of it throughout its history are an important part of telling the museum's story. This photograph in particular highlights what the museum staff believed would be appealing to a 1980s public, evident by the A-frame advertising board.A black and white rectangular photograph printed on photographic paper.Top right text: 5147. Bottom left text: Beryl Seatt (or possibly Scatt) & friend 1980beechworth, burke museum, beechworth museum, beechworth historic precinct, architecture, museum, library, 1980s, 1980s australia, museum staff

This photograph depicts the façade of the Burke Museum in Beechworth. Originally built in 1857 by the Young Men's Association as the Beechworth Athenaeum, the building provided a public lecture hall and reading room for men at the peak of the gold rush era of Beechworth. In 1859, it became the Beechworth Public Library, which is why the writing embossed above the main entry says 'Library' rather than 'Museum'. The building was turned into a museum and renamed the Robert O'Hara Burke Memorial Museum in 1863 following the death of Robert O'Hara Burke on the Burke and Wills expedition in 1861, as Burke had been the Police Superintendent of Beechworth. The museum has had several additions built onto the property, most notably significant extensions in the 1970s, but the main façade depicted in the photograph has remained largely intact. The architecture is an example of provincial conservative classicism. The Burke Museum contains over 30,000 individual objects, including Gold Rush era items, taxidermy specimens, a Ned Kelly collection, and this very photograph.The Burke Museum itself is very significant to Victorian history. It is on both the Victorian Heritage Register and is part of the National Trust due to its relevance to the history of the Gold Rush period, its architectural features, and its significant collection. Photographs of it throughout its history are an important part of telling the museum's story. Although this is a modern photograph, it captures the façade of the building with similarity to the mid-nineteenth-century provincial conservative classicism style.A colour rectangular photograph printed on photographic paper.3440.1burke museum, beechworth, beechworth museum, australian museum, museum, architecture, classical architecture, conservative classicism, museum facade, library

This image shows Bethanga Bridge, which was constructed between 1927 and 1930 in Albury, NSW. The bridge was a necessity due to the building of the Hume Dam (Wier), 1919-1936. Bethanga Bridge is a long, nine-span, riveted-steel, variable depth, Pratt Truss road bridge of nine principal spans of 82 metres and a total length of 752 metres over the flooded valley of the Murray River, now part of Hume Reservoir. Because of its unique location, over the waters of a dam with the border running down the centre of the body of water, the Bethanga bridge is the only built structure shared by both New South Wales and Victoria. It was built 1.6 kilometres upstream of the dam and in 1961 was raised 300mm, with a concrete deck replacing the original wooden deck. The State Rivers and Water Supply Commission of Victoria and the New South Wales Department of Public Works were responsible for the construction works for the Hume Weir under the River Murray Waters Agreement. It is apparent that a similar joint arrangement was made for the construction of the Bethanga Bridge as part of the Hume Weir works.This photograph of the Bethanga Bridge is of historical significance as it showcases the architectural skills of Percy Allen and Vincent Packer. Additionally, it reveals the environmental landscape of the 1920s-1930s, is linked to the Hume Dam and both New South Wales and Victorian heritage. Unmounted black and white rectangular photograph. Reverse: 1997.3196 84-20-3bethanga, bethanga bridge, hume dam, pratt truss, murray river, hume weir, transportation

Beechworth Town Hall was designed by architects J.J. Coe and Thomas Dalziel and is dated to 1859. The building was made of granite and constructed to local builders Donald and William Fiddes. The original front to the building was replaced by a two story facade in 1889 designed by George Jobbins and built by Thomas Sandham according to a plaque on the front. The Town Hall is remarkable for its vaulted ceilings and columns. Originally the building was used as the Shire Offices but also doubled as a fire station and a courthouse, with still surviving cells underneath. Among the inmates was notorious bushranger Harry Power who was originally transported to Van Dieman’s Land for stealing a pair of shoes. He gained his freedom six years later but spent time in and out of gaol for the rest of his life for a variety of offences including a number of armed robberies. The Town Hall is now home to the Visitor Information Centre which helps visitors with amongst other things, accommodation, tours, event enquiries, and is the commencement point for Precinct walking tours. The Beechworth Town Hall is one of five distinctive granite buildings on Ford Street that comprise the Justice Precinct. It is of considerable historical significance as activity on the site dates from Australia’s gold rush period and was the administrative centre for north-eastern Victoria. The building has seen continual use from 1858 as an important public building and displays many aspects of the history of law enforcement in Victoria. The building is also of substantial architectural significance for its construction from local honey coloured granite, which also showcases early stone masonry techniques and craftsmanship. The Precinct is listed on the Victorian Heritage register and is protected by Heritage Victoria under the Victorian Heritage Act 2017. The buildings are also registered by the National Estate, the National Trust and protected by Indigo Shire Council’s Planning Scheme. Black and White rectangular postcard printed on cardReverse: 1906-1910?beechworth, beechworth town hall, town hall, jj coe, thomas dalziel, granite, beechworth historic building, courthouse, cells, geoge jobbins, thomas sandham, 1859, 1889, walking tours, beechworth historic precinct, historic precinct, harry power, bushranger, australian bushrangers, van dieman's land, transportation, armed robberies

This glass slide captures a scene from a male hospital ward at Mayday Hills Mental Asylum. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors, including daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses and patients at Beechworth Mayday Hills Asylum in the early twentieth century. It is also historically significant as it is representative of the changing style of treatments and attitudes towards mental illness. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.Obverse: h /lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, mayday hills, mayday hills hospital, mayday hills asylum, beechworth lunatic asylum, beechworth mental asylum, psychiatric hostpital, beechworth, burke museum, beechworth municipal council, beechworth patients, psychiatric patients, victorian heritage register, 1900, 1900 mayday hills, italianate style, 19th century asylums, asylums victoria, male ward mayday hills

Taken in approximately 1900, this glass slide captures an image of a Mayday Hills Mental Asylum nurse. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for certain individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The designated site of the institution was chosen due to its scenery and altitude. It was argued that these picturesque surroundings would assist in curing the hospital's patients of their ailments. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors: both daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses who worked at Beechworth's Mayday Hills Asylum in the early twentieth century. Thin translucent sheet of glass with a portrait image printed on the front. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, mayday hills, mayday hills mental asylum, beechworth asylum, beechworth asylum nurses, psychiatric nurses, psychiatric care, 1900 mayday hills, victorian heritage register, italianate style, 19th century asylums, asylums victoria

Taken in approximately 1900, this glass slide captures an image of two Mayday Hills Mental Asylum nurses. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for certain individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The designated site of the institution was chosen due to its scenery and altitude. It was argued that these picturesque surroundings would assist in curing the hospital's patients of their ailments. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors: both daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses who worked at Beechworth's Mayday Hills Asylum in the early twentieth century.Thin translucent sheet of glass with a portrait image printed on the front. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, 1900 mayday hills, mayday hills, beechworth mental hospital, beechworth mental asylum, beechworth asylum nurses, psychiatric nurses, psychiatric care, victorian heritage register, italianate style, 19th century asylums, asylums victoria

The Stony Creek Trestle Bridge was built in 1916 when the existing rail line from Melbourne to Bairnsdale was extended to Orbost. This 97km Bairnsdale to Orbost extension through rugged terrain was reputed to have been the most difficult rail project undertaken in Victoria. In service for over 60 years the bridge was damaged by bushfire in 1980, with the last train crossing in 1987. At 247m long and 20m high, it is the largest standing bridge of its kind in the State, and is listed on the Register of Historic Sites. Built of red ironbark and grey box timber, it is a fine example of the early engineering skills that utilised the resources and materials found on site.The Bairnsdale to Orbost rail line contains the most varied range of timber & timber composite bridges on any Victorian line. The Stoney Creek bridge is listed on the Victorian Heritage Register for its architectural and historical significance. A black / white photograph of a very tall wooden railway bridge with a train along the top.railway-bridge stoney-creek-bridge east-gippsland-railway

The library committee had already commissioned a portrait of Sir Redmond Barry when they purchased this bust of Barry along with that of Justice Fellows. The library still holds the receipt for this purchase of 24 pounds. The purchases were probably part of the program of outfitting the library interiors and may have been purchased for the niches, that were later covered with the portraits, ironically one of these was of Barry. Redmond Barry is an important figure in colonial Victorian history, responsible for the establishment of key cultural institutions as well as a Supreme Court Judge for nearly 30 years, presiding over both the Eureka trials and the trial of Ned Kelly.The bust of Redmond Barry is of some interest as part of the original furnishings of the library. It represents one of a number of bust portraits of Barry and is of some significance as it portrays Barry, an important figure in Victorian history. The bust is also of interest as a work of James Scurry, most well known for his architectural sculpture.Plaster bust of Justice Redmond Barry. The bust itself is painted white. The pedestal has been painted for a red and black marble effect. Barry's name appears in gold lettering. The Bust is larger than life size. The head is finely detailed with Barry in contemporary clothing with a bow tie and his orders on his chest.Sir Redmond Barry

In 1977 great efforts were being made to preserve this bridge, the highest trestle bridge in Victoria at Stoney Creek. The Stony Creek Trestle Bridge was built in 1916 when the existing rail line from Melbourne to Bairnsdale was extended to Orbost. This 97km Bairnsdale to Orbost extension through rugged terrain was reputed to have been the most difficult rail project undertaken in Victoria. In service for over 60 years the bridge was damaged by bushfire in 1980, with the last train crossing in 1987. At 247m long and 20m high, it is the largest standing bridge of its kind in the State, and is listed on the Register of Historic Sites. Built of red ironbark and grey box timber, it is a fine example of the early engineering skills that utilised the resources and materials found on site.The Bairnsdale to Orbost rail line contains the most varied range of timber & timber composite bridges on any Victorian line. The Stoney Creek bridge is listed on the Victorian Heritage Register for its architectural and historical significance.A black / white photograph of a very large trestle bridge. a steam locomotive, with loaded goods trucks, is on the bridge. stoney-creek trestle-bridge railway east-gippsland-railway

K2,3 and4 are of the Kiewa River and two of the bridges spanning the river along the valley. K3 and K4 would have been taken in the 1880's and show the type of trees and plant growth along the river prior to land clearing for farming. K5 is of the Running Creek Cricket Team and therefore there was sufficient population in the area to form and maintain a team as well as have other teams in the relatively near vicinity to provide competition. Note the horse drawn cart which provided transport. Date taken is unknown but possibly c 1910. The Mt. Buffalo Chalet was built in 1910 by the Victorian Government. It was Australia's first ski resort and has served generations of skiiers, hikers and families over the years. It was built for 3195 pounds and has had stories and wings added since and is the largest timber building in Australia. B4 is the earliest photo in this group as the garden is in early stages of development - the other photos show the growth of the shrubs and would be taken about c 1920. Note the cars and motor bikes. It closed in 2006. The other photos are of general interest only but interesting to see that there were donkey's grazing. There is no information as to their purpose on Mt. Buffalo. Four different Kiewa Valley families are represented in the photographs. Their descendants still live in the Valley and carry on the traditions of beef and dairy farming. Of particular interest is the photo of Miss Marjorie Clemence, the first School Teacher of Upper Gundowring School. Gundowring pastoral run was taken up in 1838 and occupied by framers in the 1860's. The area was known as Gundowring and Upper Gundowring. The Gundowring School was opened in 1871 and most likely the Upper Gundowring school would be built at the same time. It was School No. 2733 and situated in Boyd Road. It closed in 1953 when the Kiewa Consolidated School opened. The newspaper page describes the activities in which the local community of Kergunyah were in engaged in that period - Red Cross, Fire Brigade, cattle round up and some of the identities involved. The article photocopied from the Yackandandah times states that he (Norman Coad) "was sent to the Ovens District Hospital, Beechworth for treatment" which would mean that this was the closest hospital to the Kiewa Valley for emergencies in 1912.The Kiewa Valley photographs are of social significance showing two of the early bridges allowing the community easy access to both sides of the river and also the tree and plant growth before land clearing for farming. The photos of Mt. Buffalo Chalet have social, architectural and historical significance. the Chalet has been used by skiers, bush walkers and day trippers since its completion in 1910 and its closure in 2006. It is listed in the Victorian Heritage Register. The family photographs are of social and historical significance as they are of early farming families in the Kiewa Valley and also depict the dress, of both men and women) in the late 1880's. The write up in the Weekly Times has social significance as it depicts the social and farming activities and photos of the local residents from around that area. The article from the Yackandandah Times is of a personal nature with concern for the individual involved. Note: There is a photo of the gentleman mentioned in the article (Mr. Norman Coad) in the Families of the Kiewa Valley (F4) as above.30 black and white photographs - 5 of the Kiewa Valley, 8 of families of the Kiewa Vallley and 17 of Mt. Buffalo. Various sized photos. Page from the Weekly times and copied article from the Yackandandah Times on A4 sheet.(Note for easier identification they have been numbered and grouped - K1-5 (Kiewa Valley), F1-8 (Families) and B1-17 (Mt. Buffalo). K1: handwritten in ink, lower L hand corner "Bogong in the distance". K2: handwritten in ink lower L hand corner "Mongan's Bridge or Towonga". K3 handwritten in ink "Taken from Mongan Bridge looking up stream". K4 - no inscription. K5: handwritten in ink, back of photo "Running Creek Cricket Team". F1: handwritten in ink on back "Mrs. Heap" and lower down in pencil "1880's". F2 handwritten in pencil at top of back phot "Land at Tawonga TROVE The Y'dah Times 20/2/1913" and lower down in ink "Henry Ellis Larkin". F3: handwritten in ink bottom edge "Mrs Coad". Note that this photo is a postcard. F4: Written in ink lower edge "Norman Coad". Note this photo is also a postcard. F5: Lower left corner in Ink "Harry Larkin". F6: lower half back of photo, in ink "Bernie Maddison". F7: on back of photograph in ink "Miss Marjorie Clemence first School Teacher Upper Gundowring: and underneath, in pencil "C1880's". F8: Handwritten in ink on back of photo "Frank & Mrs. Keat & Lesley of Tawonga". Lower down in pencil "c1912-1914". B1: Back of photo in ink "The Chalet Mt. Buffalo". B2: no inscription. B3: "chalet at Bufflo" in ink lower left corner. B4: This is a post card. Written in ink is "Mt. Buffalo Chalet". B5 - B10 printed in ink, lower left corner "Buffalo". B11: no inscription. B12: "Mt. Buffalo" lower R corner. B13: "Buffalo?". B15: Printed in ink lower edge "Picnic at Buffalo". B16: "Donkeys on Mt. Buffalo" printed in ink lower edge. B17: handwritten in ink across back of photo "Donkeys & top of Mt. Buffalo with the Monileith in the distance". A4 sheet of paper describing an accident to Mr. Norman Coad. Under article is : Yackandandah Times (Vic: 1890 - 1931), Thursday 18 July 1912, page 3. A page torn from the Weekly Times, June 14, 1961 and entitled "Kergunyah has picturesque setting". kiewa valley, farming, families, kergunyah, gundowring upper, mt. buffalo chalet, briggs family, larki family, coad family, clemence family, laskowski collection

This is a soft-cover book of 133 pages on the settlement of the Western District from prehistoric times to the present. It has a blue paper front cover and a grey paper back cover. The front cover is covered with a clear plastic sheet and the binding is plastic. The cover has an image of a sketch of the Warrnambool beach showing the lighthouse complex on Middle Island and the lighthouse on the beach (established 1860). There are a Contents page, a Foreword, a List of Plates and seven articles on different aspects of the Western District history by different authors. There are black and white photographs and illustrations. One page (p.17) has been annotated by Les O’Callaghan.This booklet documents a public lecture series held in Warrnambool 3rd November 1984.western victorian history, edmund gill, peter ronald, john sherwood, jan critchett, tony dingle, miles lewis, kevin o’toole, warrnambool, history

Black and white photograph of four two-story Victorian terrace houses at 23-29 Hawthorn Road Caulfield. Photo dated 03/09/1972.hawthorn road, caulfield, terrace houses, houses, architectural features, streetscape

This file contains five items: 1/Item one is a newspaper article describing the plans for the restoration and development of the new pavilion. It includes figures, benefits and potential uses of the pavilion. Dated August 2012. 2/ An article from the Caulfield/Port Phillip Leader describing the new pavilion. Dated 21/08/2012. 3/A report from the Caulfield Contact detailing the history of Duncan MacKinnon Reserve. It also includes funding and planning for the upgrade to a park status, with new facilities. Dated December 1991. 4/Report by Caulfield Historical Society, with the original typed copy, describing historical changes from 1874 to 1976, and its transformation from a swamp to sporting ground. Includes figures, grants, and its changing uses by the community. Undated. Three copies in file. 5/Two photographs, an original and a smaller copy of the original, of children playing at the reserve. Undated.duncan mackinnon reserve, glen eira, murrumbeena, caulfield, north road, crosbie road, murrumbeena road, caulfield historical society, caulfield council, caulfield contact, caulfield little athletics, judge mark, hyams jamie cr, glenhuntly athletics club, caulfield district netball association, stanish jane, biggs ed cr, dixon brian, taylor sam cr, crosbie thomas mahoney, mackinnon duncan cornelius, sports establishments, pavilion, sporting clubs, athletics, competitions, swamps, playgrounds, barbeques, warren reserve, councillors, paddy’s swamp, glen eira council, sports equipment, recreations equipment, victorian masters athletics, maccabi athletics club, washington park cricket club, sports grounds, ovals, playing fields, stadiums, duncan mackinnon park, caulfield’s east ward, victorian veterans cricket club, caulfield south, crosbie swamp, caulfield park, football clubs, cricket clubs, athletic clubs, caulfield/port phillip leader, mantric architecture, parks, reserves, martens veronika cr, caulfield historical society