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Port Melbourne Historical & Preservation Society
Photograph - Sugar shed, corner Rouse and Johnston Streets, Port Melbourne, Elizabeth Rodda, 1999
Photographic competition organised 1999 by PMH&PS and developer John Sheridan of Sheridan Property at suggestion of Cr David Brand when plans for demolition were approved by CouncilColour photograph of Sugar Shed, corner Rouse and Johnston St. View towards n/w cornerindustry, manufacturing, sugar shed, joshua brothers distillery -
Port Melbourne Historical & Preservation Society
Photograph - Sugar shed, corner Rouse and Johnston Streets, Port Melbourne, Elizabeth Rodda, 1999
Photographic competition organised 1999 by PMH&PS and developer John Sheridan of Sheridan Property at suggestion of Cr David Brand when plans for demolition were approved by CouncilBlack and white photograph of Sugar Shed, corner Rouse and Johnston St. View south along Johnston St with focus on corrugated iron.industry, manufacturing, sugar shed, joshua brothers distillery -
Port Melbourne Historical & Preservation Society
Photograph - Sugar shed, corner Rouse and Johnston Streets, Port Melbourne, Elizabeth Rodda, 1999
Photographic competition organised 1999 by PMH&PS and developer John Sheridan of Sheridan Property at suggestion of Cr David Brand when plans for demolition were approved by CouncilBlack and white photograph of Sugar Shed, corner Rouse and Johnston St. View along Johnston St with focus on corrugated iron.industry, manufacturing, sugar shed, joshua brothers distillery -
Port Melbourne Historical & Preservation Society
Photograph - Sugar shed, corner Rouse and Johnston Streets, Port Melbourne, Elizabeth Rodda, 1999
Photographic competition organised 1999 by PMH&PS and developer John Sheridan of Sheridan Property at suggestion of Cr David Brand when plans for demolition were approved by CouncilBlack and white photograph of Sugar Shed, corner Rouse and Johnston St. View along lane at rear with focus on corrugated iron.industry, manufacturing, sugar shed, joshua brothers distillery -
Port Melbourne Historical & Preservation Society
Photograph - Sugar shed, corner Rouse and Johnston Streets, Port Melbourne, Elizabeth Rodda, May 1999
Photographic competition organised 1999 by PMH&PS and developer John Sheridan of Sheridan Property at suggestion of Cr David Brand when plans for demolition were approved by Council. Second prizewinner Ellizabeth Rodda was the only entrant able to access the interior and, feeling that this gave her an advantage over others, did not enter any interiors but donated them at the prize presentationColour photograph of Sugar Shed interior, corner Rouse and Johnston St. View showing exposed roof beams.industry, manufacturing, sugar shed, joshua brothers distillery -
Port Melbourne Historical & Preservation Society
Photograph - Sugar shed, corner Rouse and Johnston Streets, Port Melbourne, Elizabeth Rodda, 1999
Photographic competition organised 1999 by PMH&PS and developer John Sheridan of Sheridan Property at suggestion of Cr David Brand when plans for demolition were approved by Council'Street corner' Colour photograph of Sugar Shed, corner Rouse and Johnston St.industry, manufacturing, sugar shed, joshua brothers distillery -
Port Melbourne Historical & Preservation Society
Photograph - Sugar shed, corner Rouse and Johnston Streets, Port Melbourne, Elizabeth Rodda, 1999
Photographic competition organised 1999 by PMH&PS and developer John Sheridan of Sheridan Property at suggestion of Cllr David Brand when plans for demolition were approved by Councilblack and white photograph of Sugar Shed, corner Rouse and Johnston St showing roof beamsindustry, manufacturing, sugar shed, joshua brothers distillery -
Monbulk RSL Sub Branch
Book, Harper Collins et al, Stoker's submarine, 2003
On 25 April 1915 - the day the Anzacs landed at Gallipoli - Lieutenant Commander Dacre Stoker set out as captain of the Australian submarine AE2 on a mission to breach the treacherous Dardanelles Strait with the intention of disrupting Turkish supply lines to the isolated Gallipoli peninsula. Facing dangerous currents, mines and withering enemy fire, Stoker and his men succeeded where British and French submarines had come to grief." "Stoker's achievement meant much in military terms, and even more emotionally in boosting the morale of embattled Allied troops. But what was proclaimed at the time as 'the finest feat in submarine history' has since sunk into oblivion. Few Australians even know their country had a submarine at Gallipoli, much less that it achieved daring feats, sank an enemy craft, and possibly played a pivotal role in Anzac troops staying on the beachhead for eight months." "Now, finally, Stoker's Submarine tells the story of a remarkable naval hero and the men under his command. And the AE2 itself, still lying intact on the floor of the Sea of Marmara, is celebrated as the most tangible relic of Australia's role at Gallipoli, the crucible of nationhood.Index, bibliography, notes, ill. (some col.), maps, ports, p.318.non-fictionOn 25 April 1915 - the day the Anzacs landed at Gallipoli - Lieutenant Commander Dacre Stoker set out as captain of the Australian submarine AE2 on a mission to breach the treacherous Dardanelles Strait with the intention of disrupting Turkish supply lines to the isolated Gallipoli peninsula. Facing dangerous currents, mines and withering enemy fire, Stoker and his men succeeded where British and French submarines had come to grief." "Stoker's achievement meant much in military terms, and even more emotionally in boosting the morale of embattled Allied troops. But what was proclaimed at the time as 'the finest feat in submarine history' has since sunk into oblivion. Few Australians even know their country had a submarine at Gallipoli, much less that it achieved daring feats, sank an enemy craft, and possibly played a pivotal role in Anzac troops staying on the beachhead for eight months." "Now, finally, Stoker's Submarine tells the story of a remarkable naval hero and the men under his command. And the AE2 itself, still lying intact on the floor of the Sea of Marmara, is celebrated as the most tangible relic of Australia's role at Gallipoli, the crucible of nationhood.world war 1914-1918 - campaigns - gallipoli, gallipoli campaign - naval operations, submarine ae2 -
Benalla Art Gallery
Watercolour, Elizabeth PARSONS, Cameron's Station, Pyrenees, c. 1890
Born: Isleworth, Middlesex, England 1831; Arrived: Melbourne, Victoria, Australia 1870; Died: Melbourne, Victoria, Australia 1897VictorianGift of Mrs E.E. Ledger, 1982Rural landscape with house, fences, trees hills, a creek and a small figure carrying a fishing line. Thin, dark blue grey brushed timber frame.Recto: Signed "PARSONS" in black watercolour in l.l.c of composition; Not dated; Not titledwatercolour, landscape, tree, mountains, animals, cows, figures, fence, creek, colonial, buildings -
Tatura Irrigation & Wartime Camps Museum
Book, Elizabeth Burchill, Australian Nurses Since Nightingale
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Robin Boyd Foundation
Book, Elizabeth David, Summer Cooking, 1965
Softcovercookery, walsh st library -
Robin Boyd Foundation
Book, Elizabeth Salter, The Lost Impressionist: A biography of John Peter Russell, 1976
Hardcoverjohn peter russell, walsh st library -
Robin Boyd Foundation
Book, Elizabeth Poston, The Penguin Book of Christmas Carols, 1965
Softcovermusic, walsh st library -
Victorian Aboriginal Corporation for Languages
Book, Elizabeth Nelson, Letters from Aboriginal women of Victoria, 1867-1926, 2002
This edited collection of women's correspondence constitutes an important historical record of the experiences of Aboriginal women during a crucial period of social change. In particular the letters are valuable for the insight they offer into the impact on Aboriginal communities of government legislation and mission policies and the women's assertion of their entitlement to freedom and agency. Written by 81 different women, the letters cover such issues as children, family, religion, land, housing and material assistance.maps, b&w photographsvictorian aboriginal women, correspondence, government policy -
Castlemaine Art Museum
Painting, Elizabeth Parsons, Chinaman's Hut, Dalesford, c. 1880
Gift of Adeline Parsons -
Nillumbik Shire Council
Collage: Elizabeth GOWER (b.1952 SA, AUS -), Cycles 7, 2015
The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Lipton tea) from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters -
Nillumbik Shire Council
Collage: Elizabeth GOWER (b.1952 SA, AUS), Cycles 11, 2015
The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Purina 'fancy feast') from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters -
Nillumbik Shire Council
Collage: Elizabeth GOWER (b.1952 SA, AUS), Cycles 10, 2015
The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Lipton 'Green Tea') from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters -
National Wool Museum
Textile - Quilt, Mrs Elizabeth Morton, c.1934
Made by Mrs Noel (Lizzie) Morton, the donor's mother on their farm "Wanera" at Benjeroop on the Murray River. It was stitched with a treadle machine. Her sister Flora MacDonald did the running stitch and provided the silk backing. The squares were sent as samples from a firm called "Fred Hesse" who advertised in the Melbourne papers "Be smart and dressy In a suit by Fred Hesse". The buyer chose a sample and then sent it back with measurements and received a "mail order" suit.A small knee rug made from suiting samples machine stitched together. It is backed with black silk fabric and finished with a running stitch of orange wool oversewn with black wool thread.farming quilting quilting - history, wanera benjeroop, farming, quilting, quilting - history -
Swan Hill Regional Art Gallery
Book, BANFIELD, Elizabeth, from Loftia Park, 2017
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Swan Hill Regional Art Gallery
Print, CUMMINGS, Elizabeth, Flinders Mound, 2010
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Swan Hill Regional Art Gallery
Print, CUMMINGS, Elizabeth, My Dog at home in the bush, 2014
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Swan Hill Regional Art Gallery
Drawing, JESS, Elizabeth, Portrait of Jamie Olsen, 1990
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Swan Hill Regional Art Gallery
Drawing, JESS, Elizabeth, Nine mile creek at dusk, Broken Hill, 1992
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Stawell Historical Society Inc
Book, Elizabeth Craig, New Standard Cookery (Sister Amy Davies) - Previously Cat No 3629, 1933
Miss Amy M Davies Boona Private Hospitalstawell health -
National Wool Museum
Textile - Quilt, Child's Coverlet, Mrs Rene Elizabeth Densham, 1953
Made for Chris Neyland by Rene Densham when he was born in 1953 and later given to Running Stitch by Lois Densham who is Chris Neylands aunt. The quilt was made from scraps of woollen fabric from clothing used in the family. It was used in Chris' cot or pram when he was an infant. Lois can remember the dark green fabric coming from a jacket she once wore and the blue tartan pieces from a skirt worn by Rene, her mother. Lois also remembers her mother being "a better piano player than a cook or a sewer" and " made in the tradition of making do from a family who knew how". The family structure is as follows: Rene married Bob Densham and had three daughters: Doreen (Saunders), Betty and Lois Densham. Betty married Bob Neyland and they have a son, Chris.Quilt, child's coverlet made of woollen squares from suits and jackets. Colours are greens and browns.quilting history, running stitch group, running stitch collection, densham, mrs rene elizabeth neyland, mr chris, quilting - history -
Unions Ballarat
From growth via despair to optimism, 2002
The book is a series of essays about the history of religion within societies - particularly Baptism - in Victoria.Includes an essay that relates to Ballarat history: Ballarat and Federation, the evangel and social concerns.Paperback; green and black background cover; yellow and brown lettering; colour picture of Reverend Joseph Hunter Goble; black and white photos; 152 pages.Front cover: title and description. Spine: title and publishing organisation's name. Back: review.btlc, ballarat trades and labour council;, ballarat trades hall, religion, victorian baptist historical society, social history, social customs -
Unions Ballarat
Wellington: The years of the sword (Don Woodward Collection), Longford, Elizabeth, 1969
Biography and events of the Duke of Wellington's career (1769-1815).Military history and biography (United Kingdom).Book; 548 pages.Library markings. Lyceum Club.btlc, ballarat trades hall, ballarat trades and labour council, wellington, duke, wellington, arthur wellesley, military - united kingdom, history - united kingdom, prime ministers - united kingdom, biography -
Unions Ballarat
Mount Isa: The story of a dispute, Mackie, Pat et al
Account of the Mount Isa industrial action of 1964/65 as told by Pat Mackie who was the leader of the miners.Relevance to union actions in Queensland. Historical and autobiographical.Book; paper.Front cover: author's name and title.btlc, ballarat trades and labour council, industrial action, unions, mt isa mines ltd, trade unions -
Kingston Arts
Painting, Elizabeth Prior, Summer Brighton, 1982