The Rose Series Postcardblack and white postcard, original, good conditionBeaconsfield Parade,Albert Park, Vic, Rose Series P3411. Wed 25th Feby 1920. To Albert Park by train. Wednesday 25th Feburary1920. I came down to Melbourne on Monday 23rd.

Crowds on Beach, St Kilda. The Shelter Pavilion, Catani Gardens. The Rose Series Postcardblack and white postcard, original, good condition[front, printed] The Rose Series p. 2395; Crowds on Beach, St. Kilda [back, handwritten, pencil] 1940-60 [postcard imprint]

The Beach & Catini Clock, St Kilda, Vic. The Rose Series Postcardblack and white postcard, good condition, unmounted1940-60

Rose Series PostcardCatani Gardens, Queens Mansions, black and white postcard, unmounted, good conditionThe Rose Series P.10856, Post Card, A Real Photograph, Produced in Australia

Rose Series postcardblack and white post cardArmadale Vic. Also stamped, D.J.Taggart, 58 Glenhuntly Rd Elwood

Rose Series postcardblack and white post card poor conditionPostcard, H&B. Fitzroy st, St Kilda No.20

The shield design is symbolic of the protection provided to those who wear it. Within the badge, red represents the blood ties of war that exist between comrades; white stands for the purity of the motives in joining the league – to render service without personal gain or ambition; and blue indicates a willingness to serve a comrade anywhere under the blue sky. The wattle represents Australia, with the leek, the rose, the thistle and the shamrock standing for Wales, England, Scotland and Ireland respectively.The League’s badge represents a readiness at all times to render service to Queen and country and to former comrades. It can’t be purchased and may only be worn by those who have served their country. Gold badge with white on outside, crown on top, blue circle in the middle with gold in centre, Has red banner at bottom.On front: 97 in crown. Returned Services League. Australia. On back: Badge remains property of League. Brim Melb. Vic. 18915australia, rsl, badge

Copy of a black and white photograph, laminated. WHS Swimming Tean 1949 Back Row: Doug Henderson, Bruce Porter, Ray Smit, Don Jack, Barry Boettcher, Trevor Treadwell, Clive West, Gerald De Rose. Middle row: Barry Campbell, Neil David, John Peckham, Tom Radford, Harrow Morgan, ?, Barry Wylie,, ?, ? Front row: Frank Crane, Geoffrey Jones, Bernard Sidlerwilliamstown high school, 1949, swimming team

Irish poet and balladeer Thomas Moore, best-known for penning The Minstrel Boy and The Last Rose of Summer, is honored in this statue prominently located in Sturt Street created by sculptor George Grant from white Carrara marble. George Grant was trained at the School of Art associated with the National Gallery of Victoria, apparently in the 1880s, and then worked as an artist, specialist house painter, and banner artist. Several of his paintings are held by the Ballarat Art Gallery. Moore`s writings range from lyric to satire, from prose romance to history and biography. His popular "Irish Melodies" appeared in ten parts between 1807 and 1835. Moore was a good musician and skillful writer of songs, which he set to Irish tunes, mainly of the 18th century. This statue is of historic and aesthetic significance to the people of Ballarat.Marble statue of Thomas Moore above a large sandstone pillar West: Presented to the City Council of Ballaarat by the following citizens: H.F. Elliot, The Honorable E. Morey M.L.C., Cr C.R. Retallick, Cr J. Heinz. South: R.S. Mitchell, P. Papenhagen, T. Elliot, J. Snow, G.K. Coutts, C. Bailey, J.J. Goller & Co, W.E. Ballhausen, G. Thompson, W.H. Figgis. North: S. Seward, F.G. Haymes, Craig Williamson, R. Giddings, G. Berry, R. Inge, J.A. Pittard, L. Lederman, H. Bremer, D. Jones. thomas moore

The shield design is symbolic of the protection provided to those who wear it. Within the badge, red represents the blood ties of war that exist between comrades; white stands for the purity of the motives in joining the league – to render service without personal gain or ambition; and blue indicates a willingness to serve a comrade anywhere under the blue sky. The wattle represents Australia, with the leek, the rose, the thistle and the shamrock standing for Wales, England, Scotland and Ireland respectively. Badge issued to 3978 Private Wilfred FITTON born in Lancashire England, enlisted in the AIF in Melbourne on 28/7/1915. Served with the 5th Battalion 12/5 Rein.Embarked 23/11/1915 and was discharged on 6/7/1920. Post war worked for the Victorian Railways and lived at Tarrawingee.The League’s badge represents a readiness at all times to render service to Queen and country and to former comrades. It can’t be purchased and may only be worn by those who have served their country. Gold badge with crown on top, blue circle in the middle with image in gold centre, red banner at bottom surrounded in white enamel. Coat lapel pin attached.On front: Returned Sailors, Soldiers & Airmen Imperial League Australia On back: 48257 V Property of League. Swann & Hudson Vic. australia, rsl, private wilfred fitton, 5th battalion, ww1

Photo of WW2 internees at Camp 3B Tatura, 2 Templer Society families. Back row (left to right standing): Dr Otto Rubitschung, Walter Rubitschung, Anneliese Bulach, Friedhelm Bulach, Paul Rubitschung, Gisela Rubitschung, Fritz Bulach and Heinz Bulach. Front row (sitting): Magdalene Rubitschung, Rose Rubitschung and Anne Bulach.Black & white photo, the Rubitschung and Bulach families in Camp 3 Tatura. 8 people standing, 2 ladies and teenage girl with plaits seated. Number 792 in front centrenumber 792rubitschung, bulach, camp 3, internment camp, internees, ww2, templer society

Martin Boyd had the Boyd Coat of Arms made to adorn his home at “The Grange”. Penleigh Boyd salvaged it just prior to The Grange’s demolition circa 1958. Its ‘rescue’ and installation at Walsh St is mentioned in Brenda Niall’s “The Boyds” page 339.White-painted timber, oval shape, three roses at the top, three rows of squares, and a crescent at the base.walsh st miscellaneous, robin boyd, boyd family, ohm2022, ohm2022_20

A black and white photograph of the students at St Mary's Catholic School, Sunbury. 1913st mary's catholic school, sunbury, schools, education, our lady of mt. carmel, norris, j. (mr), ryan, margaret, deverall, eileen, wharton, frances, o'brien, molly, breen, millett, loretto, stanmore, vera, dolly, greelish, ann, johnston, joe, o'connor, felix, cyril, frank, farquer, mary, eric, smith, jack, evans, bert, mcgrath, jim, connie, george, leyden, des, mounsey, alice, murphy, susie, sweeney, pat, trask, alec, chris, burke, andy, eddie, fyfe, ken, mullins, rita, rose, josephine, shevalon, norman, george evans collection

'Glenara' is situated along the Deep Creek at Bulla and was built on an original government grant of land by Walter Clark. His fourth child, Alistair, spent much of his life there and with the help of his gardener, W.Peers, gained world recognition for introducing 150 new rose species which included the Black Boy and Lorraine Lee. He was also founder of the Moonee Valley Racing Club.A black and white photograph of a Victorian home with a return verandah across the front and side. Vines are growing up the metal verandah posts and across the front of the verandah.glenara', rose gardens, roses, clark, alistair, walter, moonee valley racing club, george evans collection

Black and white photograph. 6 female students tending to roses in the Rose Garden in front of the Shady Walk.. Names of roses on large labels.female students, rose bed, students working outside, labels, shady walk

Black & white photographnillumbik, chute street, diamond creek, bakery

BLACK AND WHITE PHOTOGRAPH LADY WEARING LARGE HAT, WITH ROSES AS DECORATION UNDER WIDE BRIM.local history, photography, photographs, unidentified photograph

Strampp lived and worked at Clifton Pugh's artist colony Dunmoochin from 1980 to 1985. 'Into the Night' is Strampps' "own marriage painting". The wedding dress and horse, "a symbol of virility and passion" represents Strampp and the background landscape was inspired by her stay in Somerset, England. The cliff edge on the left symbolises "an audacious step into the future." The painting "is of a bride, passionate yet absent, about to embark upon a new journey in life, and of the voyage ahead. It is about acknowledging the past, and having the courage to move forward. To take risks". Strampp was largely influenced by both the new German Neo-Expressionists of the time and by English artist John Walker, which is evident in this painting. Her work took on popular stylistic trends and themes of the time, which included a painterly aesthetic and an energetic application of the medium, which transferred to an emotional and or personal connection to subject matter that was communicated symbolically. Strampp is an artist of national significance. This work encompasses themes and a style of painting (Neo - Expressionism) that was prevalent during the time of its making in the eighties. This work represents a transition from Strampp's highly regarded early paintings of heroic horses in the mid to late 1980’s to her highly regarded paintings of contemporary wedding and/or armour-like bodices dresses of the 1990s. Both the 'horse' and 'dress' were often set in empty backgrounds or dreamy/foreboding landscapes. Painted in oil on linen (x2) in a 'Neo-Expressionist' style, 'Into the Night' depicts a ghostly white horse to the right of the painting looking away from a ghostly white wedding dress to the left of the painting. The dress has sprouted white wings and is adorned with bows on the bottom edge of the dress and roses on the sleeves. The dress seems full bodied although there is no figure. The dress and horse are placed in the foreground on a stage like platform with a white curtain framing the picture to the right, and a black ladder and brown cliff edge framing the picture to the left. The background depicts a foreboding and dark cloudy sky and seascape with a firery red landscape burning on the horizon. Signed low right (1988.7b VA) with brush in purple (light) 'Adriane Strampp 87'. into the night, neo expressionism, wedding dress, horse, symbolism, painting, seascape, dramatic, emotional, poetic, strampp

Sue Ford (1943-2009) was an important practitioner in the wave of 1970's Australian feminist photographers. Ford regularly took intimate and candid pictures of artist friends, such as 'Neil Douglas Research 1964', documenting a time in Eltham when Montsalvat and Dunmoochin played an important part in the early attraction of artists to the Nillumbik area. Artist, conservationist and activist Neil Douglas (1911-2003) is best known for his garden at the Bend of Islands, Kangaroo Ground where he formed a co-operative for like-minded people who wished to live in harmony with the bush and wildlife. His love of nature and the beauty and fragility of the bush are constant themes that often run parallel in his ceramic works and paintings.Sue Ford and Neil Douglas were artists of national significance who both lived in the local Nillumbik area in the mid to late twentieth century. They were part of a community of artists integral in forging a dynamic artistic spirit, heavily inspired by the region's landscape and its people. Black and white silver gelatin photographic print of Neil Douglas plein-air painting in his rose garden at Research. Ed.1/3N/Aford, douglas, silver gelatin photograph, bend of isles, research, kangaroo ground, garden, environment

Rose Series P1646 Panorama of Stawell Victoria c1918Black and white photograph of town very similar to 176. There is also a duplicate of the photo in the file. The rose series. P. 1646 Panorama of Stawell Victoria

Commonwealth Federation Memorial unveiled 1903 corner of Lower Main St and Barnes Street Stawell. The memorial commemorates the Federation of the Australian States into the Commonwealth of Australia on the 1st January 1901. The memorial cost 100 pounds and has a foundation supporting 4 columns of Scottish rose granite. The base & caps of these columns are of black marble. Around the tops of the columns are the names of the six States. George Robson and George Gray, Stawell's monumental masons who carried out the work were also thought to be responsible for the design. Black & White photograph of a glass light memorial, supported on four columns. A fence of white posts and chains surround the memorial.Sign post in background "Atlantic Ethyl Service Station."stawell