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Churchill Island Heritage Farm
Photograph - Photograph of a group of people baling hay
Churchill Island has a significant photograph collection dating from the nineteenth century.Black and white landscape photograph of people operating a baler in a paddock with the windmill in the background and a woman driving a horse raking hay.Catalogue number written in pencil on reverse. Stamped on reverse 'Josanne Broer Copyright 2000 59525700 0411234914'churchill island -
Geoffrey Kaye Museum of Anaesthetic History
Painting, Trevor McNamara, Return to Forever, 2002
The Australian and New Zealand College of Anaesthetists (ANZCA) began as a faculty at the Royal Australasian College of Surgeons (RACS). Separation was achieved in 1992, when the faculty became a college in its own right. The relationship between ANZCA and RACS has been strong ever since, and on opening the new building at the rear of the property in 2002, RACS gifted this painting to ANZCA.Mixed media abstract on square canvas. The painting is an orange, grey, green and white background, with an abstracted landscape in black to the centre.Handwritten in blue permanent marker on reverse: -RETURN TO FOREVER- / T MCNAMARAHandwritten on white sticker adhered to frame: TREVOR MCNAMARA / "RETURN TO FOREVER" / 160 X 160 / MIXED MEDIA / W: 3862 BTY ZAW -
Wangaratta High School
D.S. Lade Grave Photographs, 1944
One portrait photograph of Donald Lade's white gravestone, and one landscape photograph of Lade's gravestone and the surrounding graves in the cemetery. -
Wangaratta High School
WHS Art, 1991
Very large landscape oil painting with decorative gold frame. Presented to WHS Prefects July 1991 by L.G. Barr -
Wangaratta High School
WHS Art, 1982
Original landscape watercolour artwork of a vase of flowers with olive backing and a gold frame by R. E. Thompson (former teacher). -
Whitehorse Historical Society Inc.
Pamphlet, Australian tonal impressionist painter, n.d
Barbara Rogalski began painting when 35 and has since travelled widely concentrating on landscapes. Paintings are widely distributed.rogalski, barbara, moore, david, dudley, john -
Whitehorse Historical Society Inc.
Document, Vermont Reserve, 1/08/1992
Vermont Reserve : Proposed Development Plan. City of Nunawading Parks and Recreation Services. Landscape Australia Consultants. August 1992.city of nunawading. parks and recreation services, vermont reserve, landscape australia consultants, parks and reserves -
Glenelg Shire Council Cultural Collection
Photograph, n.d
Port of Portland Authority Archivesport of portland archives -
Stawell Historical Society Inc
Photograph, A Day At The Races
Horse Races Identities1 landscape colour portrait of Meryl Bowers with Carl Wehl, taken during 1970's Great Western RacesCarl Wehl Meryl Bowers Great Western Raceshorse races, identities -
Mission to Seafarers Victoria
Photograph - Mounted photograph, Black and white, Floating church vessel the "John Ashley"
large rectangular heavy card b/w photograph in landscape format. Photo includes printed description as part of photo.Description printed beneath actual photo on front: "The floating church vessel of the Missions To Seamen, "John Ashley," has the river Thames as its Parish. In one year 17,000 men came aboard. To many seamen it was their first contact with the Church."reverend john ashley (1801-1886), floating church, mission to seamen, river thames, england -
Mission to Seafarers Victoria
Photograph - Photograph, Black and white, Portland Guardian (1842-1964), 30 June 1962
The Port of Portland opened in 1959. Straight after the Mission had the desire to establish a Mission at this location. A building was found in November 1961 on Cliff Road (AR 1961). After alterations and renovations, it was officially dedicated and opened the 30 June 1962. The Portland Mission was the fourth building to be opened in Victoria.Large rectangular (landscape orientation) monochrome photo, depicting 6+ clergymen gathered in a 'U' shape, conducting an outdoor servicePortland Guardian stampmission to seamen, portland, victoria, 1962, dedication, opening -
Mission to Seafarers Victoria
Photograph - Photograph, colour, c.1957
Colour photograph of people waiting outside of 717 Flinders St, to be taken by bus/wagon for a picnic. The same truck appears in the photograph 1973. The transport company W.H Hemsworth & Sons was located in Charles St., Footscray. Rectangular (landscape style) colour photograph of people waiting outside of 717 Flinders St, to be taken by bus/wagon for a picniclhlg, picnic, seamen, transport, w.h. hemsworth, footscray, children, dome, flinders street, north wharf -
Glen Eira Historical Society
Album - Album page, "Ripponlea", Hotham Street, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 94 of Photograph Album with four photographs (three landscape and one portrait) of Ripponlea - stables, lookout and neighbouring cottages.Handwritten: "Ripponlea" Hotham Street [top right] / Neg 256 Dec 1972 STABLES [under top left photo] / Neg 248 Dec 1972 LOOKOUT [under top right photo] / Neg 254 Dec 1972 / COTTAGES WILLOW STREET [under bottom left photo] / Neg 259 Dec 1972 STABLES [under bottom right photo] / 94 [bottom right]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, 1860's, 1890's, 1880's, benjamin nathan, nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, guilfoyle, adam anderson, ripponlea, victorian, sir frederick sargood, architects, bricks, polychrome bricks, taylor and fitts, stables, lookouts, cottages, outbuildings, rippon lea -
Glen Eira Historical Society
Album - Album page, Murray Street, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Houses shown at 35, 58 and 32 Murray Street Elsternwick are still all extant (Google map image capture Dec 2018). Victorian Heritage Database - HO130 32 Murray Street Caulfield https://vhd.heritagecouncil.vic.gov.au/places/35535 (at 14/08/2021) No. 32 Murray Street is locally distinguished as the most imposing villa of its period in Murray Street whilst its association with J. W. Doyles, builder of several houses in the same street, is of interest. Its importance is enhanced by its substantially intact state.Page 138 of Photograph Album with four photographs (three landscape, one portrait) of 3 different houses on Murray Street. Handwritten: Murray Street [top right] / 35 [under top left photo] / 58 [under top right photo] / 32 [under bottom left photo] / 32 [under bottom right photo] / 138 [bottom right]trevor hart, garden, verandah, murray street, elsternwick, victorian style, houses, cast iron work, bay windows -
Glen Eira Historical Society
Album - Album page, Carnegie Methodist Church, Neerim Road, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Victorian Heritage Database citation for HO47 Uniting Church, 254 Neerim Road https://vhd.heritagecouncil.vic.gov.au/places/42432 (as at 28/10/2020) The former Methodist church (now Uniting church) complex at 252-54 Neerim Road, Carnegie, consists of the original timber church of 1886, the present brick Arts and Crafts influenced church of 1914, designed by A. Phipps Coles, the timber hall attached to the original church, built during the interwar period and the present brick hall of 1933, designed by J.F. Snell. From Victorian Heritage Database citation for HO47 Uniting Church, 254 Neerim Road https://vhd.heritagecouncil.vic.gov.au/places/42432 (as at 28/10/2020) The complex has aesthetic, historical and social significance. Its aesthetic value is derived from the extreme simplicity of the original church and the highly picturesque, eclectic, Arts and Crafts influenced character of the main church and hall. Its historical value rests in the early date of the original building and the manner in which the remaining buildings are representative of the principal period of settlement of the locality. The social significance derives from the use of the site as a place of worship since the commencement of the closer settlement of Carnegie from as early as 1886. Page 146 of Photograph Album with four photographs (3 landscape, 1 portrait) of Carnegie Methodist Church, Neerim Road.Handwritten: Carnegie Methodist Church Neerim Road [top right] / 146 [bottom right]trevor hart, neerim road, carnegie methodist church, church, toolambool road, wesleyan methodist church, breslin gallery, anthony breslin, 1910's, american romanesque, spire, half gabled tower, art, gallery, cafe, arched doorways, red brick, uniting church, carnegie, arts and craft style, a p coles, a coles, j f snell, j snell, halls -
Stawell Historical Society Inc
Photograph - Aunde Album 29, Production Planning, 2002
Aunde / Norwellan Textiles North Western Woolen Mills became Norwellan Textiles then AUNDEColour landscape photo: Office, 2 Women, 2 Men, planning calanders, file, computers, clock 1.50 PM.AUnde Australia Ltd. logoindustry, aunde -
Glen Eira Historical Society
Album - Album page, Paynswicke, Gladstone Pde & Hartington St, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. House is commonly spelt as "Payneswicke".From: Glen Eira Heritage Management Plan (1996) by Andrew Ward and Associates "Payneswicke" is locally significant as a prominent and substantially intact villa of its period, distinguished by its cast cement enrichment, unpainted stuccoed surfaces and commanding aspect to the south-west. Its role for a period as home for local builder, Patrick Millane (compare no. 11 Gladstone Parade) is of interest. In 1889, a nine roomed brick house was in the course of erection on the site. The house was completed in 1890 and Millane took up residence. Millane continued as owner/ occupant in 1894. However, in 1899, although Millane still occupied the house, ownership had been taken over by the Land Mortgage Bank. By 1910, Andrew Brown was occupant. Occupancy passed to Edward Brown by 1920 and to Miss A.N. Brown by 1930. Miss Brown continued to live there in 1941.Page 50 of Photograph Album with three exterior photographs (2 landscape and 1 portrait) of Paynswicke, a double storey house.Hand written: No 13 [top right] / "Paynswicke" N.E. cnr Gladstone Pd & Hartington St [top right] / 8 Oct 1966 [under top left photo] / 50 [bottom right] trevor hart, 1880's, 1890's, payneswicke, patrick millane, gladstone parade, unpainted stuccoed surfaces, cast cement enrichment, hartington street, villa residence, italianate, elsternwick, victorian, mansion, cast iron verandahs, return verandahs, curved windows, full length windows, land mortgage bank, andrew brown, edward brown, a n brown, paynswicke -
Glen Eira Historical Society
Album - Album page, Eversley, Gladstone Parade & Clarence Street, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Property now known as Eversley, formerly Nulmore then Brampton. From Caulfield Heritage Management Plan 1996 by Andrew Ward In 1888, C. Hume owned lots 61, 62 and 63 in the Kooyong Park Estate, on the northwest corner of Gladstone Parade and Clarence Street. In 1889 Thomas B. Jackson, architect, of Shoobra Road, purchased the land and in the same year built a ten roomed brick house on lot 63 and part lot 62. Jackson leased the property to William Dalrymple in 1890. By 1894, the property was owned by P. Langwill and leased to James Ainslie, an accountant. By 1899, Frederick Henriques had moved into the house, which was known as ''Nulmore". In 1910, the house was vacant. In 1920, it was leased to Augustine Barbeta who continued to live there in 1930. By 1934, the house was renamed ''Brampton". ''Nulmore" is locally important as an unusually imposing Elizabethan influenced villa in Caulfield, comparing with nos. 34 and 25 Gladstone Parade. Its link with local architect Thomas B Jackson is of interest. Page 52 of Photograph Album with two exterior photographs (one landscape and one portrait) of Eversley , a double storey mansion.Hand written: (36 )[top right] / "Eversley" N.W. cnr Gladstone Parade & Clarence Street [top right] / 8 Oct 1966 [under top left photo] / 52 [bottom right] trevor hart, 1880's, 1890's, gladstone parade, eversley, victorian, clarence street, architectural features, nulmore, brampton, kooyong park estate, architect, shoobra road, hume, elsternwick, double storey mansions, thomas b jackson, william dalrymple, p langwill, james ainslie, frederick henriques, augustine barbeta, elizabethan style, house names -
Glen Eira Historical Society
Album - Album page, Gladstone Parade, 34, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Caulfield Heritage Management Plan 1996 by Andrew Ward In 1889, Thomas B Jackson, an architect in Shoobra Road, owned lots 61-63 at the north west intersection with Clarence Street. He built the two red brick houses, each of 10 rooms, known as "Kenly" and "Nulmore" (later "Brampton") in that year. By 1894, P. Langwill had purchased the property, leasing it to Fred Henriques, an accountant. Alfred Pearson a government chemist, was occupying tenant by 1899. The property was known as ''Kenly''. In 1910, the house was vacant, however, in 1920, James Edmends was living there and continued to do so in 1930. By 1941, Edmends had moved to No. 32, and Alfred Williamson was in residence. "Kenly'' is important as an unusually imposing Elizabethan influenced villa in Caulfield, comparing with nos. 25 and 36 Gladstone Parade. Its importance is enhanced by its substantially intact state whilst its link with local architect Thomas B Jackson is of interest.Page 53 of Photograph Album with two exterior photographs (one portrait and one landscape) of a double storey brick mansion.Hand written: 34 Gladstone Parade [top left] / 53 [bottom left] trevor hart, 1880's, 1890's, gladstone parade, eversley, victorian, double storey, clarence street, architectural features, nulmore, brampton, kooyong park estate, architect, shoobra road, elsternwick, kenly, elizabethan influence, thomas b jackson, p langwill, fred henriques, alfred pearson, james edmends, alfred wiliamson, house names -
Glen Eira Historical Society
Album - Album page, St Mary's Anglican Church, Glen Eira Road, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From the Victorian Heritage Register Database - Citation for St Mary's Anglican Church https://vhd.heritagecouncil.vic.gov.au/places/43715 (as at 14/10/2020) St Mary's has architectural significance as a representative example of French influenced Low and Mixed Gothic (see stylistic Typology in National Trust's Historic Churches Study) and is further distinguished by its use of bluestone, entirely without relief. French influence is demonstrated by the high nave, apsidal sanctuary, spirelet and trumeau. The building is locally important as a historic focus for Anglican worship and early mission activity whilst its architectural grandeur is expressive of mid Victorian Caulfield's status as a suburban location for the Metropolis gentry.Page 56 of Photograph Album with three exterior photographs (two portrait and one landscape) of St Mary's Anglican Church.Hand written: St Mary's Anglican Church Eira Road [top right] / Neg 235 8 Oct 1966 [under top left photo] / 3 Sep 1972 [under bottom left photo] / 56 [bottom right] trevor hart, 1880's, elsternwick, glen eira road, st kilda east, church of england, gothic, st mary's, bluestone, apsidal sanctuary, spirelet, trumeau, anglican, 1870's, caulfield north, french-influenced low and mixed gothic style -
Glen Eira Historical Society
Album - Album page, Caulfield Town Hall cnr Hawthorn & Glen Eira Rds, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Caulfield Town Hall is now known as Glen Eira Town Hall.From Victorian Heritage Database: Citation for Town Hall, Corner Glen Eira and Hawthorn Roads - HO106 https://vhd.heritagecouncil.vic.gov.au/places/43613 as at (19/10/2020) The former City of Caulfield (now City of Glen Eira) Municipal Offices, located at the south-west corner of Hawthorn and Glen Eira Roads, Caulfield South, were commenced for the Borough of Caulfield in 1884 when they also included a Post and Telegraph Office and Court of Petty Sessions. They were designed by the Borough surveyor, Sydney Smith. The hall was completed in 1890 to the design of Alexander Rankin and the present hall, foyer and portico completed to the design of Goldsmith and Jenkin, architects, in 1931. The complex is historically, aesthetically and socially significant. It is historically significant {Criterion A) as the centre of Local Government services in the area since 1885 and as a centre of post and telegraph and legal services for a period. Its association with architect and Borough surveyor, Sydney W. Smith is important in that the east elevation and facade (ground floor level only)as far west as the tower (lower two stages) survive as evidence of his work, the practice which his son continued after his death in 1886, becoming highly successful. The work of Goldsmith and Jenkin is historically important in that it indirectly demonstrates the growth of the City sustained during the Inter-war period, the work proceeding in spite of the Depression. It compares with other similar work of that time including the refurbishment of the Malvern Municipal Offices and Hall in 1927 (Hudson and Wardrop), the Melbourne Corporation Offices and Hall in 1925-28 (Stephenson and Meldrum, A. and K. Henderson) and the Camberwell Offices and Council Chamber in 1924 (Leighton Irwin and Roy Stevenson), other comparable municipal projects being undertaken during the 1930s. Finally, the Goldsmith and Jenkin works are important as a project of the Depression years organised specifically to alleviate unemployment problems in the Municipality. The complex is aesthetically important (Criterion E) as a prominent and imposing Classically derived complex of its type with individually noteworthy interior spaces being the entry hall and staircase, main Hall, Foyer and Council Chamber. The Adamesque plasterwork, timber panelling and furniture, Art Nouveaux enrichment and Classically derived treatment with sparing use of Australian decorative motifs are contributory elements. Exterior .elements of note include the remains of the original design prepared by Sydney Smith and the clock tower and portico which have come to symbolise important Municipal complexes erected prior to the Second World War. The complex is socially important (Criterion G) for the value placed on it by the community which has made use of it for activities including that of Local government for well over a century.Page 74 of Photograph Album with four photographs (three portrait and one landscape) of different views of the Caulfield Town Hall.Hand written: Caulfield Town Hall cnr Hawthorn & Glen Eira Rds [top right] / 74 [bottom right] trevor hart, caulfield, glen eira, caulfield town hall, sydney smith, sydney w smith, municipal, adamesque plasterwork, adamesque, art nouveaux, portico, council chambers, alexander rankin, foyer, local government, timber panelling, tower, unemployment, clock tower, hawthorn road, glen eira road, city of glen eira, municipal offices, post and telegraph office, goldsmith and jenkin, courthouses, surveyors, architects, classical architectural style, streetscapes, gardens, cars, glen eira town hall, depression 1929-1939 -
Glen Eira Historical Society
Album - Album page, Hood Cresc - St Mary's Old Vicarage, Circa 1972
This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Page 87 of Photograph Album with two photographs (portrait and landscape) plus a photo of a photograph of St Mary's Old Vicarage.Handwritten: Hood Cres St Mary's Old Vicarage[top left] / bottom photo of photograph is titled "St Mary's Vicarage" / 87 [bottom left]trevor hart, elsternwick, hood crescent, helenslea, c.e.g.g.s., school, 1860's, sir george stephen, shelford, glen eira road, st mary's vicarage, st mary's old vicarage, vicarage, church of england, gardens, chimneys, caulfield north -
National Wool Museum
Photograph - Product Photograph, Automatic Feeding Machine
These are sales photographs for William Tatham Ltd. of Rochdale. These photographs are taken in the fitting shop at William Tatham Ltd. where final assembly would have taken place. The Automatic Feeding Machine automatically dispenses wool to a carding machine, so that an even, constant supply is received. This eliminated the manual labour previously needed for the initial weighing and feeding of wool. The photographed machine was made by William Tatham Ltd, a textile engineering company based in Rochdale, UK. Established in 1866, Tatham developed innovative textile machinery and sent their products to Australia and other countries around the world.Two black and white photos of an Automatic Feeding Machine in a landscape format. The first photo is of the front of the machine, the second is of the rear.8037.1 - Front - top margin: For description see over. Front mide right edge - Wm. TATHAM Ltd. ROCHDALE. Machine Maker Front bottom right corner - 1146 Rear - 78” wide Automatic Feeding Machine having Dual Hoppers in which the first and large section feeds the second Hopper so as to maintain a constant level of material in the latter. The driving of both spiked lattices is by electro-magnetic clutches, the one in the first Hopper being actuated by a sensitive feeler motion in the second, the second spiked lattice however, being controlled, of course, from the Scale Pan. Through a mercury switch. The scale is of our latest super-sensitive pattern mounted diagonally across the Feed. Only the opening doors are used in the actual weighting and the trap doors placed over the scale which close immediately the correct weight is deposited, operate through a solenoid. The machine incorporates many other features and is arranged to divide for facility in cleaning. 8037.2 - Front mide right edge - Wm. TATHAM Ltd. ROCHDALE. Machine Maker Front bottom right corner - 1147 Rear - Showing opposite side of Dual Automatic Feed illustrated in photo 1146textile machinery, automatic feeding machine, tatham, feeding machine -
Northern District School of Nursing. Managed by Bendigo Historical Society Inc.
Photograph - Lecture room Sister (Peg) W Donohoe
The Northern District School of Nursing opened in 1950 in to address the issues around nurse recruitment, training and education that had previously been hospital based. The residential school was to provide theoretical and in-house education and practical training over three years. The students would also receive practical hands-on training in the wards of associated hospitals. The Northern District School of Nursing operated from Lister House, Rowan Street, Bendigo. It was the first independent school of nursing in Victoria and continued until it closed in 1989.B&W photograph of lecture room with Sister (Peg) W Donohoe and students Landscape format B&W photograph.Sister (Peg) W Donohoendsn, nursing -
Bendigo Historical Society Inc.
Book - BENDIGO LANDSCAPE ASSESSMENT
Bendigo Landscape Assessment Big Hill & Mandurang Valley Drat Report 23 June 2012 contains maps and photographs.surveying, terrestial, mandurang valley -
Bendigo Historical Society Inc.
Book - POST OFFICE GALLERY MAPPING GREAT CHANGE, 2013
Post Office Gallery exhibition catalogue, Mapping great change the landscape of central Victoria, 27 pages with maps and illustrations.books, catalogues, post office gallery -
Bendigo Historical Society Inc.
Postcard - POSCARD. BUDWORTH CHESHIRE
Postcard. Landscape lady and child walking along roadway. Church tower in background. Rear. Names deleted. Aunty Lizzy. -
Flagstaff Hill Maritime Museum and Village
Print - Landscape, Jean Baptiste Camille Corot, Souvenir of a Journey to Coubron, 1908-mid-20th century
Famous French artist Jean Baptiste Camille Corot, 1796-1875, was trained in the classical landscape style. His inspiration came from his travels around France and Italy. He developed a soft poetic or romantic style of work which became very popular. He had the skills to bring'light' into his paintings. The original oil on canvas painting by Corot is held at The National Gallery in the United Kingdom. It is titled 'Souvenir of a Journey to Coubron' and is one of twenty-seven of his works at the Gallery. Corot visited Coubon, east of Paris, many times. In 1873 during his stay there he sketched the scene that became the basis of this painting. This reproduction print was made by The Medici Society Ltd., founded in England 1908. The Society's aim was to make artwork affordable and available to the general public. The name Medici was chosen to honour the support and encouragement given to artists in the 15th century by Lorenzo de' Medici (1449 - 1492), known as Lorenzo the Magnificent, and his family. His profile is on the company's trademark. The Medici Society still produces Fine Art reproduction prints as well as selling original works. The print was framed by Westminster Art Gallery in Camperdown, London. The handwritten text on the back of the artwork adds some background to the artist: Corot was apprenticed to a Draper but changed to his profession at the age of 22 years. When he went from a poor artist to achieving wealth and fame he generously supported his less fortunate fellow artists. Corot found that the light and shade in a natural scene meant more to a landscape painter that what could be learned by following the principles of the academies. Corot was 51 years old before he sold his first picture. He though that he was the only artist that could really paint 'light'. The National Gallery, Victoria, has an original oil on canvas by Corot "the bent tree", created 1856-1860. It is in a similar style to this print "Souvenir of a Journey to Coubron", which was likely to have been painted around the same time.This high quality reproduction print was produced in the early-to-mid 1900;'s. This advancement in technology allowed everyday people to own and enjoy the fine art that was previously only accessible to the wealthy. The print is significant for its association with the famous 19th century artist Jean Baptiste Camille Corot.Print of a painting by Jean Baptiste Camille Corot, depicting a landscape with two buildings amongst trees and a boatman in the marshy foreground. The print is famed in carved timber with a cream matt, behind glass. there is an inscription on bottom right of print and further stamped and handwritten inscriptions of the reverse paper. The is a genuine Medici Society Fine Art reproduction print and was framed by Westminster Art Gallery.Original artwork painted and signed by artist "COROT" White sticker with"32" Reproduction print by the Medici Society, London Stamp "Westminster Art Gallery / 91 CAMBERWELL RD. / CAMBERWELL E.6." Text on Corot's history Underlined statement "GENUINE MEDICI PRINT "flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, jean-baptiste-camille corot, french artist, jean corot, camille corot, print, souvenir of a journey to coubron, coubron, 19th century artist, medici society, reproduction print, westminster art gallery, fine art -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Photograph, B/W Laminated of August Rietman Family c 1918, c1918
August Rietmann 1877-1951 and his wife Frieda 1878-1942 leased the Box Cottage in 1917 and raised 2 children Stefanie 1918-2006, and William 1920– 1997. August was a Monumental Mason / Potter / Sculptor and he was employed at Corbens Ltd Clifton Hill, to make the War Memorials for many towns post WW1. August purchased the property 1935,and established a pressed concrete business using the cottage as a workshop and storeroom After August died in 1951, William, his son, continued to work in the business from the site until the land was sold to Lewis Co. Ltd Timber Merchants in 1970. Rietman's Landscaping Ltd , managed by William's family, moved to Bay Road Highett 1953 and later to Carrum. The original small, pioneer cottage was built in the late 1840s to early1850s, by an unknown pioneer. It was located on part of a 30 Acre allotment that was originally part of Dendy’s Special Survey granted in 1841. The doors and window sashes, (made of red deal joinery timber), as well as the brass locks and fittings, are from the original cottage, and were imported from England. The fire-place bricks are from the original cottage, and are sun-dried, (not kiln fired), and are hand-made. Convict marks can be seen on two bricks. There is a small display of external cladding shingles from the original pioneer cottage. These shingles were hand-split, and most likely made from locally collected timber The nails included in this display were used to fasten the shingles on the original cottage, and are also hand-made. The cottage was occupied by William Box and family from 1865 until 1914 when it was sold to August Rietman . The enamel nameplate, “Colonial”, on the wall of the cottage, was the name chosen for the original pioneer cottage by Mr August Rietman, when he purchased the property in around 1915, for 1200 Pounds approximately. In 1974 Mr Lewis, a timber specialist, found the dilapidated building on property he had recently purchased in Jasper Rd and suggested it be reconstructed and relocated. Moorabbin Council agreed and the cottage was rebuilt just about 250 metres from its original site. The cost of the rebuild was met by 'Victoria's 150th Committee, plus a small grant from the City of Moorabbin, and Mr Laurie Lewis donated much of the timber for the reconstruction. The re-constructed cottage plan has followed faithfully the original dimensions, and plan of the original pioneer cottage, and as many original items from that cottage’s long occupation have been incorporated. The photographs in Album 1 record the progress of the reconstruction from February 1984 to the First Public Open Day November 18th 1984After the death of Elisa Box in 1914 the house was leased to August Rietmann, a potter / sculptor who with his wife Fieda raised their family there 1917 - 1951. Stefanie Rennick nee Rietman lived at the house until she left to study teaching 1937. August's son, William Rietman and family managed Rietman's Landscaping Ltd after moving to Bay Road Highett 1953 and later to Carrum. The Lewis Timber Company Ltd purchased the land with The Cottage c1970. i) A laminated, black and white, photograph of August Rietmann and Family c1918 at Box Cottage, Ormond, Molly the house cow is in foreground ii) Colour photograph of Rietman's Landscaping Ltd. Bay Road Highett c 1990brighton, moorabbin, cottages, pioneers, ormond, colonial, mckinnon, dendy henry, box william, box elizabeth, reitman august, convicts lewis timber co. ltd., deam h, museums, box alonzo, smith a, rietmann august, rietman august, rietmann frieda, rietman frieda, stonnington city town hall, war memorials, world war 1 1914-1918, rietman stefanie, rennick stefanie, francis stefanie, rietman william, rietman ray, mountford paul, malvern city town hall, box cottage museum ormond, joyce park ormond, rietman's landscaping pty ltd, bay road highett, macrobertson pty ltd, coleraine soldier memorial 1921, dendy, rietman agust, convicts, macrobertson, war memorial -
Robin Boyd Foundation
Newspaper - Clipping, The Sun, Going back to 1850s, 19.11.1971
This article anticipates the opening of the new Tower Hill centre. It compares the 1855 landscape of Tower Hill painted by Eugene von Guerard with the today's landscape - very different indeed.p 16tower hill, von guerard, walsh st library