Black and White Photo of the Bendigo Gardens with the Conservatory in view in the centre of the imagephotograph, landscape, bendigo conservatory, bendigo, bendigo gardens, bendigo conservatory, gardens, conservatory

Black and White Photo No 12 of the 'Views of Bendigo' , photo is surrounded by border and descriptions, includes Carlisle Company, North Garden Gully and Pass-by Company's Claimsorganization, business, industrial, views of bendigo, bendigo, carlisle company, north garden gully, pass-by company, claims

Photograph - sepia. Photograph panorama from Fire Tower, Bendigo.. In the distance shops that I can read 'Mobiloils', 'Cockings', 'Cocks Motor Garage', back view of the Conservatory building and gardens. The Rose Series P.3231. It is written on back but unable to read much, its from Monica. Trees etc along the bottom front are part the rosalind park.Rose Seriesplace, aerial view of bendigo, fire tower., bendigo. panorama from fire tower.

Slide, ALLAN BUDGE COLLECTION, General Views, Queen Street. Street name plate on one of the above. Note the garden wall bonding in the walls.house, public, allan budge collection, allan budge collection

Slide. Conservatory Garden, Bridge Street Bendigo. Looking at Law Courts and Bull Street. Dated 25.3.57slide, bendigo, conservatory gardens, castlemaine historical society collection conservatory gardens bendigo law courts bull street view

Born: Casterton, Victoria, Australia 1887; Died: 1935TonalismLedger Gift, 1988Urban landscape with view of partial house, trees and figures. Gold brushed wooden frame.Recto: Signed "C.Beckett" in red paint l.l.c of composition; Not dated; Not titledlandscape, house, figures, trees, australian art

Born: Hobart, Tasmania, Australia 1836; Died: Hunter's Hill, New South Wales, Australia 1914RomanticismLedger Gift, 1976Rural landscape with cows, track, lake and large mountains and clouds. Golden gesso painted timber frame.Recto: Signed "W. C. Piguenit" in black oil in l.l.c of composition; Not dated; Not titledpainting, landscape, water, animals, cows, boats, trees, mountains, clouds, sky, colonial, reflections

Born: Vienna, Austria 1811; Arrived: Melbourne, Victoria, Australia 1852; Died: London, Middlesex England 1901RomanticismLedger Gift, 1984Rural valley and mountain landscape with two figures walking down a track beside a waterfall towards a river. Gold brushed gesso decorative edged timber frame.Recto: Signed and dated "Eug.V.Guérard / D. 85" in red oil in l.r.c of composition; Not titledpainting, landscape, river, cliff, mountain, figures, buildings, waterfall, sky, clouds

Born: St Petersurg, Russia 1828; Arrived: Melbourne, Victoria, Australia 1854; Lived and worked: Switzerland 1845-1848, Germany 1851-1854, Australia 1854-1865, New Zealand 1865-1866, England 1870-1902; Died: London, Middlesex, England 1902RomanticismGift of Mrs E.E. Ledger, 1985View from rustic house with two figures overlooking lake surrounded by mountains and trees. Grey brushed stained timber.Recto: Signed and dated "N.Chevalier. / 1886" in brown watercolour in l.l.c of composition; Not titledwatercolour, landscape, waterscape, building, trees, mountains, water, cabin, sunset

Born: London, England 1801; Arrived: Sydney, New South Wales, Australia 1835; Died: Sydney, New South Wales, Australia 1878ColonialBennett Bequest, 1999 Hand-coloured lithograph depicting industrial waterscape with rocky shoreline and ships and buildings in background. Black painted timber frame with off white arched window mount and gold brushed internal window edgeRecto: Not signed, not dated, not titled print, waterscape, sea, harbour, land, figures, boats, tress, sydney harbour, buildings

Inscribed on original mountcard, l.l., gold letterpress, "N.J. CAIRE".bendigo, sandhurst, botanical gardens, house, photograph, work on paper

Inscription verso "dr S". Cazneaux image but not signed by artist.photograph, silver gelatin, australian photographer, australian artist, lae iron work, gate, iron gate, garden gate, architecture

aerial photographPhotograph black and white arial Copy of original. View of water, yachts in foreground and pier with Catani gardenes midground and rest of St kilda in distance.St Kilda from the Sea

Reclaimed from the Sea, Site of old Bathing Ship, c1915, foreground shows people relaxing on the lawns, background shows Fitzroy Street and part of Acland Street North, partial view of buildings in Fitzroy street, including 1 Fitzroy Streetblack and white photograph, copy, fair conditionSeafront Gardens, Esplanade, Melbourne suburbs St Kilda reclaimed from the sea - sight of the old bathing ship, St Kilda By the Sea Annual, page 59, National Library of Australia, Canberra

c1915, site of the old bathing ship black and white photograph, unmountedMelbourne Suburbs St Kilda View of West Beach, improvement site of the Old Ship, St Kilda By the Sea Annual, p.63, season 1915-16, National Library of Australia

Front view of two storey mansion, central tower, polychrome brick, arched windows and single storey verandah to right side of building. Two couples in garden foreground. Built 1860, photograph taken 1872. Designed by Reed and Barnes.backed, unmounted copy, black and white photo, good condition.Built 1860, designed by Reed and Barnes, Euro Reko, Burnett Street S E side, through to Gurner Street. Photograph taken 1872. Demolished.'

The Residence of Mrs M J A Horner. Front view of house, gardens with fountain, lady and gentlemen in Victorian clothes on front driveway, woman at door, man walking around side of houseblack and white lithograph, unmountedWickliffe House, Esplanade, St Kilda, the residnece of Mrs M.J.A. Horner copy from: Victoria and its metropolis, vol.2, p.448, copy courtesy LaTrobe Library, Melbourne

Copies of 6 sketches done by Reinhold Eckfeld whilst an internee in camps 9 and 10 at Hay NSW. He was also on the Dunera.Collection of 6 copies of sketches done in pencil and laminated. 1 - Pencil sketch of Rudi Laqeur and Hans Abarbanell 2 - Pencil sketch of Michael Ritterman, Heinz Oschinski and Hans Feder (sketches 2 and 3 were joined together) 3 - Pencil sketch looking through 3 rows of barbed wire to trees beyond 4 - Pencil sketch looking through 3 rows of barbed wire at a different view point to no 3 5 - Pencil sketch of inside hut 39 Hay, front corner with bunks on left hand side 6 - Pencil sketch of two of the mess huts and other huts at Hay and some of the gardenhans feder, michael rittermann, heinz oschinski, internment camps new south wales, hans abarbanell, rudi laqeur, hay internment camp, dunera internees

Barracks housing German families from Palestine between 1941-1946.Black and white photograph on foam. Photograph depicts a view of several huts and their gardens.palestine internees, internment camp housing, camp 3 internment

Robin Boyd wrote two books on Japanese architects and architecture - “Kenzo Tange” published by George Braziller in 1962 and “New Directions in Japanese Architecture” published by Studio Vista in 1968. During the 1960s he travelled several times to Japan to research these books and as part of his role as Exhibits Architect for the Australian Pavilion at Expo ‘70 in Osaka.Colour slide in a mount. Ko-shoin: Moon-Viewing Platform, Katsura Imperial Villa, Kyoto, JapanTokyo, Japan / Japanese Gardens (2) / Katsura Inperial Villa / Step at Ko Shoin and Moon-view pavilion / 8 / Encircled 3 (Handwritten) / Encircled 3 (Handwritten)slide, robin boyd

Boy with a Thorn Though the classical bronze that the figure was modeled has become known as Lo Spinario, both Stuart Rattle and Kevin O’Neill referred to it as The Boy with a Thorn. Information from the late Stuart Rattle and John Graham, the late Kevin O’Neill’s partner. The statue was bought by Kevin O’Neill from a South Yarra antique dealer in the 1980s. She had bought it in Europe. Stuart believed that it was cast in Berlin by Moritz Geiss who had pioneered the popular process of zinc casting of classical statues. Schinkel, the architect of early 19th Century Prussian public buildings used the process extensively. I assume that the decorations that can be seen in Berlin currently are copies of those copies, given the comprehensive destruction of the city in 1945. Unless there is a date stamped on the statue, and there might well be, there is no firm indication of its age, although Stuart and Kevin believed it was “turn of the century”. It was given to Stuart by John Graham after the death of Kevin O’Neill. Prior to its installation at Musk Farm, it was “by the dam” at Marnarnie, O’Neill’s property at Mt Macedon. It became a much photographed focal point in the sunken garden at Musk Farm. The statue is a gift from the Rattle family to The Friends of Wombat Hill Botanic Gardens who intend to give it, in turn, to Hepburn Shire to be placed in the Botanic Gardens. Both the family and the Friends see it as a memorial to Stuart’s tireless work to raise funds for the Gardens and to raise the profile of the Gardens so that their considerable significance could be more broadly acknowledged. The CMP notes that statuary has been a feature of most botanic gardens (and a notable feature of the Ballarat Botanical Gardens) and James Lowe, the head of Parks for the Shire has also commented that it is an area that could well be developed in the Gardens. This comes from his attendance at meetings of the BGANZ, the “peak professional body” for the development and maintenance of registered botanic gardens in Aus and NZ. Given the lack of funds that the Shire has been able to allocate to the Gardens, a donation of this calibre is a welcome addition to the cultural asset that the Gardens represent. A very large number of residents of the Shire are members of the Friends, have visited Musk Farm and are appreciative of the Gardens. There is a current feeling that the Gardens are undergoing a dynamic revival as a result of the success of the Café and also because of the extraordinary improvement and enhancement of the amenity that has been undertaken over the past two years by the Friends. The installation of the Boy with the Thorn is another move forward for the Gardens. The statue is cast zinc. It is sometimes referred to a white bronze. As can be seen in the photographs, it is in very good condition with no damage or apparent degeneration of the metal. The Smithsonian Institution has a lengthy document relating to the deterioration and repair of similar casts in the US where urban pollution has taken its toll but for the most part it deals with inappropriate repair rather than maintenance protocols. One of the properties of zinc that is appreciated in Australia is its ability to withstand the elements and given that the artwork has been either on Mt Macedon or at Musk for the last 30 years or more, its relocation to Wombat Hill seems to be an appropriate one. The Friends are prepared to organise and pay for the relocation of the statue. The issue of security from the point of view of theft, malicious damage and environmental impact will need to be addressed. The Ballarat Botanical Gardens have recently reinstalled statuary which has been damaged and which had been removed from the Gardens on account of this. They have used Rockworks Ballarat and Wilson’s Memorials to make plinths, secure artworks with steel pins and to provide especially robust fixings to ensure the safety of the various sculptures. The CMP (2007) makes a number of recommendations regarding security in the Gardens ranging from the installation of lighting to the locking of the gates overnight and the repair/reinstatement of appropriate fencing – not done as yet to my knowledge. Paul Bangay has also agreed to act as a consultant in the process of installing the Boy. John Graham estimates its value at $20,000 The preferred location for the work would be at the entrance to the Fernery from the lawn. The paths form an intersection at that point that could be modified to fit the statue. But this is currently a suggested location only. The statue is a gift from the Rattle family to The Friends of Wombat Hill Botanic Gardens who have gifted it to the Hepburn Shire to be placed in the Botanic Gardens. Both the family and the Friends of the Wombat Hill Botanical Gardens Daylesford see it as a memorial to Stuart’s tireless work to raise funds for the Gardens and to raise the profile of the Gardens so that their considerable significance could be more broadly acknowledged. Lo Spinario (Boy with a thorn) c. 1900 copy after the Greco-Roman Hellenistic antique bronze in Rome. c. 1900 copy after the Greco-Roman Hellenistic antique bronze in Rome (Palazzo dei Conservatori, Musei Capitolini, Rome) Manufacturer M. Geiss, Berlin Nonedaylesford, wombat hill botanical gardens, stuart rattle, kevin o'neill, john graham, boy with a thorn, lo spinario, classical sculpture, zinc, classical nude, hepburn shire, public art, sculpture, art

Boyd starts with a vivid description of the pomp surrounding the announcement of the name for Australia's national capital on 12 March, 1913. The history of the development of a national capital, and its design is given, along with the significance of the public landscaping. Includes captions for three Canberra views."The City Among The Hills", in The Book of Melbourne and Canberra, The Griffin Press, Adelaide 1966, pp 32-33.1 Typewritten, 2 Typewritten (c copy), quarto, 12 pages. (Two copies)Reverse P10 has caption in pencilcanberra, walter burley griffin, leslie wilkinson, national capital development commission, canberra landscape, ebenezer howard, garden city, robin boyd, manuscript

Built between 1882 and 1884 for the banker William Greenlaw and with interior decoration by the Paterson Brothers, a number of elements of the the interior design scheme reference Greenlaw’s Scottish origins. Following his death in 1895, from 1897 the house was leased and owned by a succession of owners including the Fripp family, the Royal Women’s Hospital and the Mount Royal Hospital before being sold to the Society of Jesus for Xavier College. In 2004 the title was transferred to Villa Alba Museum Inc., and the western section of the garden leased to Xavier College for 99 years. The photograph is one of a series of views of the interior commissioned from the photographer Russell Winnell by the Board of Management of Villa Alba Museum in 2011.The Drawing Room at Villa Alba, 44 Walmer Street, Kew. The photographer's point of view includes the original Carrara marble fireplace and satinwood over-mantel in the panoramic view of the south-facing room. villa alba museum, interior design - 19th century, drawing rooms - 19th century, paterson brothers - decorators - melbourne, russell winnell photography

Built between 1882 and 1884 for the banker William Greenlaw and with interior decoration by the Paterson Brothers, a number of elements of the the interior design scheme reference Greenlaw’s Scottish origins. Following his death in 1895, from 1897 the house was leased and owned by a succession of owners including the Fripp family, the Royal Women’s Hospital and the Mount Royal Hospital before being sold to the Society of Jesus for Xavier College. In 2004 the title was transferred to Villa Alba Museum Inc., and the western section of the garden leased to Xavier College for 99 years. The photograph is one of a series of views of the interior commissioned from the photographer Russell Winnell by the Board of Management of Villa Alba Museum in 2011.villa alba museum, interior design - 19th century, drawing rooms - 19th century, paterson brothers - decorators - melbourne, russell winnell photography

Built between 1882 and 1884 for the banker William Greenlaw and with interior decoration by the Paterson Brothers, a number of elements of the the interior design scheme reference Greenlaw’s Scottish origins. Following his death in 1895, from 1897 the house was leased and owned by a succession of owners including the Fripp family, the Royal Women’s Hospital and the Mount Royal Hospital before being sold to the Society of Jesus for Xavier College. In 2004 the title was transferred to Villa Alba Museum Inc., and the western section of the garden leased to Xavier College for 99 years. The photograph is one of a series of views of the interior commissioned from the photographer Russell Winnell by the Board of Management of Villa Alba Museum in 2011.villa alba museum, interior design - 19th century, paterson brothers - decorators - melbourne, russell winnell photography

Built between 1882 and 1884 for the banker William Greenlaw and with interior decoration by the Paterson Brothers, a number of elements of the the interior design scheme reference Greenlaw’s Scottish origins. Following his death in 1895, from 1897 the house was leased and owned by a succession of owners including the Fripp family, the Royal Women’s Hospital and the Mount Royal Hospital before being sold to the Society of Jesus for Xavier College. In 2004 the title was transferred to Villa Alba Museum Inc., and the western section of the garden leased to Xavier College for 99 years. The photograph is one of a series of views of the interior commissioned from the photographer Russell Winnell by the Board of Management of Villa Alba Museum in 2011.villa alba museum, interior design - 19th century, paterson brothers - decorators - melbourne, russell winnell photography