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Ringwood and District Historical Society
Flyer, Subdivisional Land Auction Sale Brochure, Grand Central Estate, Ringwood, Vic. - 1925
Douglas Street shown in the estate plan did not eventuate, but was developed as a public reserve. Refer also to Reg. No. 5149 for 1924 auction sale of land also titled Grand View Estate situated further north in Ringwood.Double sided multi-folded page advertising public auction sale on Saturday, 31st October, 1925, of residential allotments highlighting local facilities, services and layout of the estate. Includes panoramic view of Ringwood and other local photographic images.Subdivision includes Great Ryrie Street, Heathmont Road, Douglas Street, Garden Street, and Bellevue Avenue. Agents - Knight & Harwood, 315 Collins Street, Melbourne, Phone 10615, 10616 Central, in conjunction with J.B. McAlpin, Opposite Railway Station, Ringwood. Phone Ringwood 7. -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Flyer - Kinrade Estate, Bentleigh East
Kinrade Estate was not subdivided as shown in flyer. The land was purchased by Cyclone in 1950. Cyclone built a factory which manufactured wire material. This factory was closed in XXXX and a development firm purchased the land and subdivided the land into housing blocks.Example of the progress of the Municipality of MoorabbinAdvertising flyer for auction of real estate sales - plan of building blocks for saleleary avenue, charles street, peter leary, john joseph kinrade, tucker road, east boundary road, clover estate, kinrade estate, bentleigh, cyclone company, ardena court, bentleigh east -
Port Melbourne Historical & Preservation Society
Photograph - Graham Street towards Albert Park, Reverend Donald LANGFORD, June 1973
Taken from the corner of Seisman Place looking towards Albert Park, the photograph was taken before the demolition of the gasometer shown on the on right. The original Albert Park High School can be seen behind the Pickles Street sign.B & W photograph of Graham Street, Port Melbourne looking towards Pickles Street.built environment - demolition, built environment - industrial, transport - roads, education - secondary schools, gasometer -
Stawell Historical Society Inc
Photograph, Seppelts opening of new drive 1950
Photo of people at Seppelts & Sons cellars, Great Western. The official opening of the new drive which bears the name of Sir Dallas Brooks who is shown in the front row 4th from left. 13/4/1950winery, wine -
Australian Army Museum of Western Australia
Diorama, 2015
This diorama is the introductory feature in the World War 2 Gallery - New Guinea and Islands area. A private soldier is shown in mixture of green and khaki uniforms, US style long leggings, long trousers with Thompson and Owen guns.The diorama shows the gradual introduction of green uniform elements and recognition of passive anti malaria measures (long sleeve and long pants)1:1 scale diorama showing soldier of Australian soldier of the 7th Division at the time of the advance into the Markham and Ramu Valleys, September 1943ramu, markham, shaggy ridge, 7th division, 9th division -
Melbourne Legacy
Photograph - Photo, Anzac Day 1998, 1998
This photo is of a group of Melbourne Legacy, Legatees proudly marching towards the Shrine of Remembrance on Anzac Day in 1998. That was the 75th Anniversary of the founding of Melbourne Legacy. They could have been marching behind a Legacy banner but it is not shown in these photos.A record of a Anzac Day march to commemorate the 75th Anniversary. The legatees chose to march together under the Legacy banner rather than with their comrades from their respective battalions. Colour photo x 4 of Legatees marching in the 1998 Anzac Day parade, Melbourne. Handwritten on reverse 'Legacy Events. Anzac Day March, April 1998. Legacy marching as a group.'anzac day, 75th anniversary -
Bendigo Military Museum
Photograph - Stereoscopic Equipment – Army Survey Regiment, Fortuna, Bendigo
This is a set of six photographs of stereoscopic equipment and personnel at the Army Survey Regiment, Fortuna, Bendigo, c1950s to c1960s. The stereoscopes shown in photos .1P and .2P were used to stereoscopically view and interpret features in overlapping aerial photographs. The stereoscopic plotters shown in photos .3P and .4P were used to stereoscopically plot topographic detail from overlapping aerial photographs using a pantograph arm with pencil onto a controlled plotting sheet. The Ryker Model PL-3 Wernstedt-Mahan type stereoscopic plotter shown in photos .5P and .6P was used for precision contouring, planimetry and profiling. It was a comparatively simple stereoscopic mapping instrument designed to use ordinary contact prints of aerial photographs. It provides for plotting on a constant scale and approximate tilt correction but does not provide refinements such as correction for lens distortion. The plotter in Photo .6P does not have its pantograph arm attached. These plotters pre-date the Wild B9 and B8 stereo plotters introduced in the 1960s.This is a set of six photographs of stereoscopic equipment and personnel at the Army Survey Regiment, Fortuna, Bendigo, c1950s to c1960s. Black and white photos are on photographic paper and were scanned at 300 dpi. .1) - Photo, black & white, c1950s to c1960s, Universal Stereoscope, unidentified technician. .2) - Photo, black & white, c1950s to c1960s, Old Delft Scanning Stereoscopes, unidentified technicians. .3) - Photo, black & white, c1950s to c1960s, Unidentified stereoscopic plotters and technicians. .4) - Photo, black & white, c1950s to c1960s, Unidentified stereoscopic plotter, CPL Bill Shapcott. .5) and .6) - Photo, black & white, c1950s to c1960s, Ryker Model PL-3 stereoscopic plotter.Photo .4P is annotated on back - ‘Bill Shapcott (CPL)’royal australian survey corps, army svy regt, rasvy, army survey regiment, fortuna, asr, air survey, photogrammetry -
Federation University Historical Collection
Engineering, John S Bushnell & Co, Steam Engine Indicator, c.1894
http://www.archivingindustry.com/Indicator/chapterfour.pdfSteel steam engine indicator with accessories as shown ; velvet lined timber storage case 255mm x 220mm with brass hinges and latches. Additional information can be found online via: http://www.archivingindustry.com/Indicator/chapterfour.pdf Refer p. 4-23 [last viewed 20 May 2013][a] John S Bushnell & Co, New York Pat.Feb.20.1894 [b] New York Pat.Jan.19.1892 1257 bushnell, bachelder, spring indicator, engine indicator, wightman -
Federation University Historical Collection
Photograph - Black and White, Solomon and Bardwell, Bellair's Rainbow Hotel, Ballarat
According to Reid and Chishold in 'Ballarat Golden City' "Rainbow Hotel Sturt Street: on the north side near Armstrong Street was built in the 1860s. It was demolished to may way for Lester's Hotel"Double storey brick building with a lamp over the front door. The building is Thomas Bellair's Rainbow Hotel. Cafe Tortoni and Criterion House are also evident in the image. Three men stand outside the Rainbow Hotel, and a woman and dog are shown outside Cafe Tortoni. Gift of the Keith Rash Estatebellair, thomas bellair, rainbow hotel, lestor's hotel, sturt street, armstrong street, streetscape, cafe tortoni, criterion house -
Bendigo Historical Society Inc.
Document - E DOWLING COLLECTION: THANKYOU CARD
Thank you card issued by the Weslayan Church, Castlemaine & Sandhurst District Victoria: Presented to Mr & Mrs Weir in recognition of kindness shown to Ministers during the sittings of the District Meeting of 1878. Signed Spencer Williams, Chairman and A. Mitchell, B.A?. The E Dowling Collection. Related to Lithgow and Weir families.genealogy, family, lithgow, lithgow family, weir family, weslayan church castlemaine & sandhurst district -
Bendigo Historical Society Inc.
Photograph - EVA MAY CROWTHER COLLECTION: PHOTOGRAPH OF EVA
Sepia coloured photo of Eva Crowther circa 1900, she is shown laying back with one arm resting on a small table and touching her head the other arm stretched out in front of her. She is wearing a tiara and a long dark dress. On the side the name: Bartlett Bros. Bendigo.person, individual, eva crowther -
Bendigo Historical Society Inc.
Document - FIRE BELL PLAN OF BENDIGO
Plan Document. A Fire Bell Plan of Bendigo issued by F.H.Sparkman. A street map of Bendigo split up into a central zone plus four surrounding zones. It is probably the upper part of a calendar with the date section missing (torn off). F.H.Sparkman was a printer and a Mason. Date not shown but probably prior to 1950F.H.Sparkmanessential services, firefighting, fire bell plan of bendigo, fire bell plan, f.h.sparkman -
Bendigo Historical Society Inc.
Photograph - ELMA WINSLADE WELLS COLLECTION: PHOTO OF EDGAR SHAPLAND
A small photograph of Edgar Rotherham Shapland. A relative of Elma Winslade Wells. Edgar is shown standing next to a pillar, a dog is sitting on the pillar. Edgar is wearing a dark jacket, shirt and tie. At the bottom the name Henry Wayland, Blackheath. On the back the logo of Henry Wayland photographer Rembrandt House, Blackheath.person, individual, edgar shapland -
Bendigo Historical Society Inc.
Postcard - BASIL WATSON COLLECTION: POSTCARD - ROYAL FLYING CORPS BASE, MONTROSE, ca. 1914
Postcard - Royal Flying Corps Base, Montrose titled 'A busy morning - Royal Flying Corps Base, Montrose' Numbered 322 in bottom LH corner. Showing five/six planes on field in front of five hangers, some with open doors. Two bi-planes shown in air above.Davidson's Real Photographic Seriesmilitary, aviation, royal flying corps -
Dutch Australian Heritage Centre Victoria
Ashtray (Asbakje)
The item dates from the years of Dutch influence in the region which ended in 1962. The region is now known as West Papua.As the above urls will show, West Papua's history is a complex one with various colonial powers disputing ownership with the local inhabitants. Modern Indonesia also lays claim to it. The area was part of the Kingdom of the Netherlands from 1949 till 1962. Prior to 1949 it was part of the Dutch East Indies. The item may well date from this pre-1949 period.Richly illustrated small rectangular glass ashtray showing map of one-time Dutch New Guinea, surrounding waters and smaller islands. Two endemic bids are also shown. The glas is a pale blue; the illustrations are in green and yellow; words are in black. The ashtray's four sides are curled slightly upwards.Oceans, seas and islands are named in the Dutch language. A dotted border marks off Australian New Guinea. -
Dutch Australian Heritage Centre Victoria
(a) Leesplankje (b)Leesplankje letter collection (c) Book: 'Het Leesplankje', (c)Het Leesplankje
Leesplankjes were first created in the last decade of the 19th century and continued to be created in a number of variations until the 1950's. Separate editions were used for Dutch populations abroad, e.g., the Dutch East Indies.Every Dutch primary school child would have been familiar with these boards and letters. A number of variations existed depending on the particular area in The Netherlands where the school was. There were distinctive boards for e.g., South Africa and Dutch East Indies.a) Reading Board - an aid to lelarning to read. b ) A small round tin containing the necessary letters to build the words shown and illustrated on "leesplankjes" or reading boards. (See also item 4839). c) Book produced in 2014 concerning the variety of these reading boards with the addition of word games and reading practice.a) variety of nouns containing an assortment of diphthongs. b )Lettertjes bij Hoogeveens leesplankje*J.B.Wolters. Groningen* (Letters for Hoogeveen reading boards) c) Book Title: Het Leesplankje met woordspelletje en oefeningen. (The Reading Board with word games and exercises). -
Mt Dandenong & District Historical Society Inc.
Photograph, Kalorama Gap in 1927, 1927
View of the Kalorama Gap (FiveWays) in 1927. Buildings shown are Jeeves' Garage, FiveWays Cafe, Nicholl's Store, Mountjoy. CRB Main Road, Ridge Road, Old Coach Road and barber's Road also visible. This photograph has a detailed inscription on the back handwritten by John Lundy-Clarke in 1974. The Kalorama Gap in 1927. Showing Jeeves Garage Fiveways Cafe Nicholls Store 'Mountjoy' C.R.B Main Rd Center Ridge Road Right of Center Old Coach Road lower right corner behind shed Barber's Road going left through clump of trees in center kalorama gap, kalorama, fiveways, fiveways cafe, jeeves, jeeves garage, garage, nicholls store, mountjoy, barbers road, old coach road, ridge road, main road, crb road -
Bendigo Historical Society Inc.
Slide - DIGGERS & MINING. THE CHINESE ON THE GOLD FIELDS, c1857
Diggers & Mining. The Chinese on the Gold Fields. Slide: Royal emblem, Lion and Unicorn. Victoria, Victoria Regine No. XLI An Act to regulate the residence of the Chinese Population in Victoria. (24th November, 1857. Whereas it is expedient to regulate and control the residence (the rest of document is not shown) Markings: 19. Used as a teaching aid.hanimounteducation, tertiary, goldfields -
Bendigo Historical Society Inc.
Slide - DIGGERS & MINING. THE DIGGINGS THE DIGGERS, c1850
Diggers & Mining. The Diggings The Diggers. Slide: A fine feeling of comradeship was often shown by the diggers; and, despite the bad relations often existing between the diggers and 'the Camp', they could be very appreciative of a Camp official who treated them fairly. Markings: 73 994.LIF:4. Used as a teaching aid.hanimounteducation, tertiary, goldfields -
Ararat Gallery TAMA
Functional object, Candied papaya, c. 1900s
‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Here candied papaya from the tropical island of Okinawa is wrapped in a betel-palm leaf to create a simple but strikingly effective package. Like many of the other packages shown in this book, this one has a distinctly regional flavour and, for mainland Japanese, an exotic flavour as well. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving -
Kew Historical Society Inc
Photograph, James Venn Morgan's 100th Birthday, 1923
1823-1923.MR. JAMES VENN MORGAN. "FATHER OF" KEW."In a Village in Somersetshire in England on February 21, 1823, a son was born to George and Sarah Morgan. The child was so delicate that his parents feared that he would not live. How little ground the parents parents had for their fears may be judged from the fact that the boy, christened James Venn Morgan is still alive and hale. He is able to exhibit with pride the paper with its faded ink on which a clergyman wrote the certificate of his baptism almost 100 years ago. But for some slight infirmities of sight and hearing, Mr. Morgan, who is within six weeks of completing the 100th year of his life, is in good health, and is well able to attend to his business affairs. His immediate cause for regret is that he is not now able to do a day's work in his garden, as he was 12 months ago. After spending his early life in England, where he learned his trade as shoemaker, Mr Morgan came to Australia in April, 1851. He carried letters of introduction to Mr. Tripp, a solicitor, of Melbourne, who strongly recommended him to begin business as a shoemaker, and accordingly he opened a shop at the corner of Swanston and Bourke streets, where the Leviathan Stores now stand, and was not long in working up a good connection. Among his customers at that time Mr. Morgan recalls Mr. Justice A'Beckett and many leading men in law and medicine of the day. Then the news was flashed through Melbourne of the discovery of gold at Ballarat. Nothing can give a clearer idea of the excitement this news caused in Melbourne than that Mr. Morgan, who was a member of one of the first parties to leave for the diggings, left uncompleted in his workshop one of a pair of riding boots he was making for Mr. J. B. Weir. As the purchase of suitable clothing would have taken time, he set out to make his fortune wearing a top hat. At Ballarat he stayed for five or six weeks, and returned to Melbourne with 10oz. of gold. He remained in the city long enough to finish the second of the two riding boots, and then, with three companions, set out for Chewton, near Castlemaine. Here fortune smiled. The party tried their luck in an abandoned shaft, and in two weeks returned to Melbourne again after having won 35lb. weight of gold. How Kew Was Born. Mr Morgan was content with his success, and induced his partners to invest their money with him in land. After obtaining the advice of a friend, the party negotiated with Mr Samuel Watts, of Collngwood, who had recently purchased land from the Crown, and from him they took over at £15 an acre about 32 acres of land in the district that is now known as Kew. This land extended from where the Kew Post-office now stands to the locality of the Boroondara Cemetery. At that time there was not a house in the district, and there was a fairly large population of aborigines, but no white men. Here it was that Mr Morgan decided to settle, and, after having had the land surveyed, the partners apportioned it by drawing straws for the four sections into which it had been divided. One of them sold his holding later in the year for £100 an acre, and was sorry for it afterwards. In 1853 Mr. Morgan built the first house in Kew, and this house is the one in which he still resides. Here with his wife, he settled down to market gardening and dairying. He tells with a laugh how he was paid 1/ a lb for the first potatoes he grew, and 1/ a quart for milk. So successful was the new venture that he induced his father and other members of the family to come out to Australia to assist him. How different Kew of those days was from the Kew of to-day will be understood from Mr. Morgan's statement that for weeks at a time they never saw a a white face other than those of the family. The blacks, he says, although very noisy, were entirely friendly. Gradually the district became settled, Mr. Morgan parted with a portion of his holding, and subdivided and built on the remainder which he still retains. In 1884 he found himself in a position to retire from active business. Youth in Old Age. In Mr Morgan's garden, which is a large, one trees which he and his father planted more than 60 years ago are still bearing heavy crops of apples. Mr. Morgan has been a widower since 1915. He has three daughters all of whom are married, and numerous grandchildren and great-grandchildren. One of the great-grand children reccntly informed Mr. Morgan that he was about to be married. Perhaps the most striking characteristic of Mr. Morgan to-day is his activity. Not only does he move about with surprising alacrity, but is able to go into the streets and attend to his business affairs with but little fatigue The Argus, 17 January 1923, p.12.This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.A group portrait on the occasion of the 100th birthday of James Venn Morgan in 1923. Dorothy Rogers used this photograph in 'A History of Kew' (1973). It faces page 17. In the book, the caption reads "JAMES VENN MORGAN'S 100TH BIRTHDAY ANNIVERSARY. The party was held at 'Morganville'. Mr Morgan is shown with a group of descendants."James Morgans 100th Birthday Party. james venn morgan, kew, model dairy, dorothy rogers -
Mont De Lancey
Functional object - Glass bottle, Wiltshire's Pty. Ltd, Unknown
Mr. M. W. Clements conducted a grocery store adjacent to his home near Warburton Highway, and later at a new building at the corner of Warburton Avenue and Sebire Avenue, Wandin. A tall clear glass Wiltshire's vinegar bottle with a cream, yellow and black paper label. About 24 ozs is printed at the top Wiltshire's Vinegar Made from Sugar & Malt. The manufacturer's address and details are also shown. There is an added homemade label - Clements Store Wandin, glued to the bottom of the bottle.An added label is stuck to the bottom of the bottle under the product label - 'Clements Store Wandin'bottles, food sorage containers, vinegar bottle -
Wodonga & District Historical Society Inc
Photograph - Codling Collection 01 - High Street West, Tower Place, 1970s
Miss Olive Codling was a Foundation Member and a Life Member of the Wodonga Historical Society. Many of her prize-winning photos are held in the Society Collection. She also held a range of roles and committee positions in a wide range of Wodonga community organisations. These included the Horticultural Society, the Wodonga Arts Council, the Wodonga Camera Club and the Wodonga Lapidary Club. This photo collection is significant as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the 20th century.High Street West, Tower Place on the left and Highpoint on the right. Tower Place was built by Arthur Dunstan, owner of A. Dunstan & Sons Hardware and timber mills. Businesses shown include Wodonga Warehouse Centre, Highpoint Furniture, Rob Lacey Photography, Vid Hire, East West Airlines and Retravision.On sign above building "Tower Place", on front of building on left "WODONGA WAREHOUSE CENTRE"wodonga businesses, high st wodonga, tower place, highpoint wodonga -
Glen Eira Historical Society
Drawing - Hart Family
Handwritten family tree entitles “Hart of Grosmont” showing the descendants of Thomas and Susannah Hart (with a more detailed tree drawn by the cataloguer showing full names for clarification) Births and deaths over period 1791 to 1956 are shown for family.hart rodney, hart john, hart mary, hart susannah, hart thomas, hart mary anne sibella, gifford susannah, stephen mary anne sibella, hart henrietta, hart katherine, hart george, hart edith, hart edward, hart godfrey, hart mary stephen, hart john stephen, buckhurst catherine lucy, rickard ethel jane, grosmont -
Mission to Seafarers Victoria
Flyer - The Elephant Room, 1988
Louise Hearman used the Norla Dome and painted a mural which had taken her around a year to complete. The exhibition called Elephant Room was shown from May 1988. The work was vandalised in June 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that timeBlack and white flyer with dual lengthways ribbings on the back side, possibly indicative of an intent to fold the flyer in three.The Elephant Room You are invited into the dome at the “Mission to Seamen” building, no. 717 Flinders St (ext), painted by Louise Hearman. Opening night Thurs May 28th 6 pm - 9 pm Visiting hours 11am -6 pm Tues to Sun from May 29th to June 11th Or by appointment ph (03) 328 1400 a.h. Sponsored by: Australian Council, Crown Hire, Art Stretchers Oliver-Davey Glass and Box Archer Emery.cultural events, exhibitions, paintings, artists, norla dome, 1988, louise hearman, elephant room, flinders street, melbourne -
Mission to Seafarers Victoria
Article - Clipping, photocopy, Deborah Stone, The sky’s the limit for modern Michelangelo, 10 May 1988
Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that timeBlack and white copy of a newspaper article, printed on A4 paper.The sky’s the limit for modern Michelangelo Because it was there . . . Melbourne artist Louise Hearman in the domed gymnasium of the Mission to Seamen - Picture: ROSS DUNCAN THE dilapidated pool halls of Melbourne’s Mission to Seamen are an unlikely setting for a budding Michelangelo. But when Louise Hearman came across the one-time mission gymnasium she could not resist the urge to create a fresco. It did, however, take a little persuading for the Anglican Church, which still owns and operates a mission in the 61-year-old building, to agreee to house a minor Sistine Chapel on their premises. A year of labour later, Hearman has had no complaints about the great swirling sky or huge oil paintings which now adorn the empty 11-sided room. Instead she is constantly visited by old sailors and passers-by who are thrilled to discover the unusual architecture and artwork. “When peoiple come here it’s a real discovery. It’s something they find for themselves,” she said. Her pictures are neither religious nor symbolic, merely outpourings to create an atmosphere. “THere are lots of things I’d like to say but I’m not saying them in my paintings. “There are no messages, they don’t have any political statement. Life was a little more comfortable for Hearman than her renaissance predecessors. After struggling with cumbersome scaffolding to reach her “canvas” she discovered the modern wonders of the scissor lift. She does not look on the work as a huge achievement. However, it may all be for nought. Unless money is spent to restore the building the paintings she has created will crumble and die - Deborah Stone The Australian Tuesday 10 May 1988louise hearman, elephant room, norla dome, exhibitions, 1988, melbourne, flinders street, ross duncan, cultural events -
Mission to Seafarers Victoria
Article - Clipping, photocopy, Megan Jones, It’s heaven now in the old gym, 1988
Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time.Black and white copy of a newspaper article, printed on A3 paper.louise hearman, exhibitions, 1988, norla dome, flinders street, cultural events, melbourne, elephant room, ian hunter -
Mission to Seafarers Victoria
Article - Clipping, photocopy, Sarah Turner, It’s Louise’s masterpiece, come heaven, hell or high water, 1988
Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time.Black and white copy of a newspaper article, printed on A3 paper.It’s Louise’s masterpiece, come heaven, hell or high water Report: SARAH TURNER PICTURE: LEIGH HENNINGHAM When her Little Bourke St studio was pulled down to make way for a carpark, artist Louise Hearman, above, contacted The Seamen’s Mission in Flinders St to see whether she could use their cottage. They agree. But neither knew what it was going to lead to. When Hearman saw ‘the Elephant Room’ at the mission, a big domed room, she felt she “just had to do something with it”. She applied for and was granted a $3250 grant from the Australia Council, with which she was able to buy the necessary scaffold and paint, and then set about transforming the room. Now, a year later, her masterpiece is complete. Hearman emphasised the the mural doesn’t represent “heaven and hell”. Rather, she said, “people should make their own interpretations”. She said it was “not particularly heaven and hell, it’s not particularly anything”. And there is “no narrative” to the mural. It “just developed with the building”, out of whatever images and feeling Hearman had at the time. Sadly though, Hearman said the mural was likely to fall off the walls and domed ceiling unless the room was waterproofed - water damage is a serious problem at the mission. louise hearman, norla dome, exhibitions, 1988, elephant room, flinders street, melbourne, leigh henningham, cultural events -
Mission to Seafarers Victoria
Photograph - Photograph, photocopy, Vogue Living, November 1987
Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time. Vogue Living published an article about the artwork in the Dome. This is one of the few colour images of the artwork.Laminated A4 colour photograph published in Vogue Living in November 1987Vogue Living November 1987 135cultural events, exhibitions, paintings, artists, norla dome, 1988, louise hearman, elephant room, flinders street, melbourne -
Greensborough Historical Society
Photograph - Digital image, Greensborough Railway Station, 02/05/2013
This photograph of Greensborough Station was taken in 2013 to show changes over 40 years, based on Ron Reynold’s sketches in the 1973 publication “Greensborough and Greenhills” published by Cypress Books. The Station is shown from the same angle as a sketch in the book.Digital copy of colour photograph.greensborough and greenhills, greensborough station, ron reynolds