Handwritten notes on the Victoria Quartz Mine. Notes mention locality, depth, geological information, Dividends, Calls and the Victoria Reef Tribute. Document from Albert Richardson Collection of mining history.document, gold, victoria quartz, victoria quartz, brief notes on the victoria quartz mine, victoria reef quartz shaft no 127, vict reef q m coy, mines dept, bendigo advertiser, victoria reef tribute

Originally stored at Ringwood Council offices, then taken to PROV.Only source of ratepayers in the Borough of RingwoodDigital imagesBarkly Street, Ringwood. For Constance & William Hall, William Hancock (Allman's Estate), Lilian Gawith, James McDonald & John & Beryl Albert.

Sepi print mounted on cardStamped on reverse: A.J. Spark Collection Photos 1900-1930 Photography Late Albert Jones Diamond Valley Tel: 83 - 3561henley bridge, yarra river, row boat, uniden, unidentified

Sepia photograph from the 1930s of nine women in netball uniform with the letter V on the uniform. The first woman is holding a brown leather ball. The women are on a grass field, standing alongside a marked line. There is a nondescript building in the background. Sepia photograph of a group of women in netball uniform.On back - stamp with following: "Arthur Aitken Press Photographer 20 Albert Street Petersham 'Phone Late Chief Photographer Tel. Pictorial"womens basketball, women's basketball, netball, netball uniforms, uniforms, 1930s, sport, victorian team, women's netball, womens netball

A brown hard cover reference book, designed for use by Motormen, Inspectors and Depot Workers, by W.A. Agnew.Stamped on first page; Agents for Western Australia. H.B. ALBERT & CO. Book & Music store 20 to 38 Central Arcade, Perth.

Contains articles by Alan Marshall, Albert Tucker and Clem Christesen (prior to his settling in Eltham) and an art review by Paul Haefligler on Seven Paintings From the 6th Annual Exhibition of the Contemporary Art Society of Australia (including Albert Tucker's "Images of Modern Evil")Alan Marshall, Albert Tucker and Clem Christesen were all notable identities of the Shire of Eltham districtSoftcover; 114 pages; 27.6 x 21 cmalan marshall, albert tucker, angry penguins (journal), clem christesen

Railway line from Mont Albert to Box Hill, c.1956 - Churchill Street, Mont Albert on right Prior to the Eastern Suburbs Railway Development which added a third set of tracks down the alignment to Box Hill (Dec. 1971). This photo was taken at the same time as the 1956 Mont Albert Railway Station (behind the camera view) See also EDHS_04674-03 both taken from the same location. adjacent to the end of present day Trafalgar StreetDigital TIFF file Scan of Kopdak 620 black and white negative transparencygeorge coop collection, churchill street, mont albert railway station

These are the youngest two children of Dave and Lily Mair. Geoffrey, Beryl and Gwynne were born while they lived in East Melbourne. Isabel may have been born in Mont Albert after they moved to Louise Avenue. Shirley was born after they moved to 20 Barton Street, Mont Albert. The children attended Mont Albert Central School. Isabel Lillian (1921-1997) and Shirley Inez (1928-1968). This is part of a large collection relating to the Deakin, Mair and Young families.This is part of a large collection relating to the Deakin, Mair and Young families with many connections to Surrey Hills and Mont Albert.A black & white image of 2 young girls seated in a garden setting; the younger one is in the lap of the other and is holding a bunch of flowers.On a label adhered to the top of the original: "Isabel & Shirley Jan. 1931" Rear in lead pencil: "Isabel Lilian Mair / nursing her young sister / Shirley Inez Mair / 1931"isabel lillian mair, shirley inez mair, children

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Tony Albert’s 2022 solo exhibition at Sullivan+Strumpf, Remark, continues the artist’s investigation into the imagery and identification of appropriated Indigenous Australian iconography in domestic decoration and design. Incorporating fabric from his extensive collection of ‘Aboriginalia’, Remark sees Albert expand on his acclaimed Conversations with Margaret Preston series dimensionality, critically engaging with the fabric in his own right. Like the fabric of Australian society, the appropriated Indigenous imagery printed on souvenir tea towels intertwines in a complicated web of national identity. These are not images by Aboriginal people and our voices and autonomy continued to be silenced through the object’s inauthenticity. As a country we must reconcile with these objects’ very existence. They are painful reiterations of a violent and oppressive history, but we also cannot hide or destroy them because they are an important societal record that should not be forgotten. As an artist this juxtaposition and tension fascinates me. Tony Albert’s multidisciplinary practice investigates contemporary legacies of colonialism, prompting audiences to contemplate the human condition. Drawing on both personal and collective histories, Albert explores the ways in which optimism can be utilised to overcome adversity. His work poses important questions such as how do we remember, give justice to, and rewrite complex and traumatic histories. Albert’s technique and imagery are distinctly contemporary, displacing traditional Australian Aboriginal aesthetics with an urban conceptuality. Appropriating textual references from sources as diverse as popular music, film, fiction, and art history, Albert plays with the tension arising from the visibility, and in-turn, the invisibility of Aboriginal People across the news media, literature, and the visual world. australian first nations art, colonialisation

Blue cloth covered spine and cardboard covers. Text and graphics in gold. Vol. I.history, travel, hms bacchante, ship, naval, prince george, prince albert

Refers to the service of Albert Edwards. British Army 5471, Southhsmpton, UK.1. 50 cents, Chamber of Commerce de Boulogne Sur Mer. Dated 4 June 1920. 2. 10 cents - Ville de Lille Bon Communal. 3. 5 cents - Ville de Lille Bon Communal. (Garanti par la ville). 4. 10 cents - Ville de Tour Coing Bon de Denrees. 5. 5 cents - Ville de Tour Coing Bon de Denrees. 6. 5 cents - Roubaux. Everre de 1914 - 1915 "Bon de Cinq Centimes".ww1, french currency

Souvenired by W.O Albert Corrie VX47191, refer Cat No 4847 for service..1) Currency note, ten cents Ceylon, blue and black colours with King George depiction. .2) Currency note, 50 Elli Kurus, Turkish, various colours with depiction of a man in RH corner. .3) Currency note, Greek, 10 (unclear), various colours, depiction on LH corner re an Ancient Greek. All 3 have been laminated..2) In red, “SERI B22 223751” .3) In red/black, “A ? 7 434181”currency, notes,

Souvenired by WO Albert Corrie VX47191, refer Cat No 4847 for service.1) Currency note United Arab Emirates 5 Dirhams, front has a sketch of a building, colours red, brown, yellow, pink. .2) .3) Currency note United Arab Emirates 10 Dirhams, Arabic writing with image of a dagger, colours greens and black. All have “United Arab Emirates central Bank in large print”.1) In black, “156769584” .3) In black, “065418412”currency, notes, arabic

Items relating W.O Albert Corrie, refer cat No 4847 for serviceBoth, Embroided Warrant Officer rank insignia, crown centre, colours khaki, brown and white.insignia, rank, warrant officer

The Corbould Building is located on the corner of Grant Street and Albert Street, Ballarat.Black and white photography of a double storey brick building known as the Ballarat School of Mines Corbould Building. It houses automotive studies. ballarat school of mines, corbould, corbould building, automotive, corbould recreation hall

People - "Hooppell, John Arthur And ? Son Albert" Buildings - Studio Portrait

Storer’s General Carriers (Albert H. & M.) Stawell. Jeparit & Rainbow.stawell

Two and a half page A4 bifold tribute from companions and members of the Melbourne Walking Club with a photograph of Albert on front in a bush setting and loose page insert of order of Service. During Albert's time in the Walking Club he blazed the trail of many cross country walks around Healesville, Mount Donna Buang, Mount Juliet, Mount Buller and the Jamieson River. He was cared for in Donwood Nursing home, Croydon, at the end of his life.

A large silver plated jug presented by W.Chambers Esq to Junior Cricket Clubs season 1890 - 91, won by Welcome Alberts C.C. (Eaglehawk Cricket Assoc) with ornate decoration around top, base & spout, decorative handles on jug & hinged lid, white porcelain removable lining & a removable lid held on by 2 thumb screws, engraved on side "Presented by W.Chambers.Esq. to Junior Cricket Clubs Season 1890 - 91 Won by Welcome Alberts C.C.MF'D & Plated by Reed & Barton Patented Aug 4 1868 May 18 1878 1930clubs, cricket, eaglehawk, bendigo-eaglehawk-cricket-trophies

Black and white photograph of SEC Tram 38 in Albert St. Sebastopol heading for the City and Lydiard St. North during 1956. Tram has large white reflective triangles on the front dash and roof ad on side. Shows details of Albert St. and the roadway, along with weeds either side of track. Photo by Jim Seletto. Two Photocopies made 4/1999 for display purposes. Copy 1 in print folder, copy 2 at Bungaree.On rear in black ink "Ballarat 38 at the tree lined suburb of Sebastopol 1956". Also stamped in faint black ink "Photograph by J. Seletto". Also written on in pencil is photo (27), page 23 and page 22 indicating use in a magazine.trams, tramways, albert st, sebastopol, ballarat, tram 38

The Potosi was built in Scotland in 1873 by John Elder and Co.It was a cargo/passenger iron screw steamer and sailed from 1880-1887 under the Orient Line Australia service. Samuel James Lynn was born in 1865 in Coleraine, Northern Ireland. Sam left his home in Coleraine in 1883 at the age of 17. (More information in O.D.H.S. newsletter No. 91 September, 2012 by Margaret Hollands) Samuel Lynn was a well-known Orbost pioneer. Ho owned much property throughout the district , bred Clydesdale horses and fattened about 600 cattle. He was in great demand as a judge of both cattle and horses at agricultural shows in Victoria and interstate. He was a shire councillor for 30 years and president several times. He took a great interest in the sporting clubs of the town and played cricket until late in life. He was goal umpire for the local football team for many years, judged for the Orbost Racing Club and was the first president of the Orbost Bowls Club. He was also a member of the first municipal band. A paper passenger's contract ticket for Samuel Lynn on the Steam Ship Potosi from Royal Albert Dock, Liverpool, United Kingdom to Melbourne, Australia. It is white with black print and hand-written details.front - signed "Samuel Lynn"lynn-samuel potosi-steamship

Standing studio young male portrait. Suit, Albert Chain fob Vesta box, flower in lapel, handkerchief in breast pocket. Printed on front. Yeoman & Co 47 Chapel St Prahran.Yeoman & Co 47 Chapel Street Prahran.photograph, person, male

Hand written notes:- Duchess of Edinburgh. New Chum L/R. Reference: M. D. Depth of shaft - 830 feet. Working - 1874 - 1903. Same grou;nd as Albert & Coy.mine, gold, duchess of edinburgh, duchess of edinburgh, new chum l/r, albert & coy.

Address to BHS re Frederick Taylor James and children Frederick and Albert. Address given to the BHS by Ron Munro 6th Feb 2004. (2 copies). This document should be read in conjunction with 2810.person, individual, frederick taylor james, frederick james jnr, albert james.