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Nillumbik Shire Council
Print (woodcut and etching on chine-colle): John WOLSELEY (b.1938 Somerset, UK; arrived 1976 Melb., AUS), John Wolseley, 'Life world of the Longicorn beetle' from the 'Baldessin & Friends commemorative folio', 2016
Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media -
Numurkah & District Historical Society
Equipment - Sewing Machine - Singer - Electric
Singer portable electric sewing machine - black with some gold decorative work. Is placed in a wooden base. Has red-cloth covered electric cord and black plug. Has an arched wooden carry lid. Also has a black metal elbow control piece that inserts into the side of the machine.see photossewing, sewing machine, singer, electric -
Ballarat RSL Sub-Branch Inc.
Hat Badge - Rising Sun
This object relates to Oliver Charles MURPHY. He was born on 1/01/1879 in Lexton, VIC. Oliver Charles served in the Army (6047) enlisting on, 20/03/1916 in Swan Hill, VIC before being discharged from duties with the 5 BATTALION as a Army Non-Commissioned Corporal / Bombardier (CPL/LBDR) on 23/06/1919. Oliver Charles MURPHY was not a prisoner of war. His next of kin is Mrs Sarah Ann MURPHY - Wife.Badge with motif of the Rising Sun, for use on Australian Army slouch hats. Rising Sun includes rays of sunshine in an arch around a crown, below which there is a scroll bearing text. On reverse, two loops are soldered to the badge and a pin is fed through both loops, used for attachment to slouch hat. On front: “AUSTRALIAN COMMONWEALTH/MILITARY FORCES”first world war (ww1), 1914 - 1918, uniforms, ballarat rsl, ballarat -
Kilmore Historical Society
Photograph, 39 Sydney Street, 1980's?
Was the building which housed the Old Colonial Bank of Australasia Ltd.9cm x 12.5cm black and white photograph of the building at 39 Sydney Street. The double story building has an ornate light-coloured facade, which darker brickwork on the sides. Arched windows on the ground floor and rectangle window with trim on the top floor. Signage on the building states "Dornal Antiques".storefronts, retail store, antique dealers, antiques -
Kilmore Historical Society
Photograph, 39 Sydney Street, 1980's?
Was the building of the Old Colonial Bank of Australasia Ltd. At the time of the photograph operating as a doctors office.14cm x 9cm black and white photograph building at 39 Sydney Street. The double story building has an ornate light-coloured facade, which darker rendering on the sides. Arched windows on the ground floor and rectangle window with trim on the top floor. The newsagency neighbouring the property can be seen.Written on the back: 39 Sydney Coll Bank 115store front, shop front, antiques, antiques dealer -
National Wool Museum
Tool - Grinder, 1960-69
Cooper S.E. Ball Bearing Grinder made and guaranteed by Sunbeam Corporation Limited. Grinders like this example have been made the same since the early 1900s, with this grinder thought to have been produced in the 1960s. It is belt driven, with the other end of the belt being attached to an engine; the same engine that would have powered the overhead shearing equipment in shearing sheds. It was common for shearing teams to bring their own equipment, especially pre-1960 as most shearing sheds were not connected to power, and shearers preferred to work with their own equipment. The engines that powered the shears and grinder were typically fuelled with kerosene or petrol. The large circular disks are attached to the bolt that protrudes from the grinder and fastened tightly with a nut. An example of seeing a similar grinder in action can be found on the following link - https://www.youtube.com/watch?v=O7eimI_Gm9o. Inventor Frederick Wolseley made the world's first commercially successful power-shearing system in Australia in 1888. US company Cooper, which had been founded in 1843 as a maker of sheep dip, began selling Wolseley equipment in the USA in 1895. The Chicago Flexible Shaft Company successfully entered the power-shearing market a few years later and entered a joint venture with Cooper. It set up a branch in Sydney and sold shearing sets, and engines to power them, into the Australian market. In 1921 the US parent company, realising it needed to make products whose sales were not as seasonal as those of shearing equipment, made its first household appliances and branded them Sunbeam. In 1933, changes in exchange rates and taxes led the company to manufacture engines and shearing equipment in Australia via subsidiary Cooper Engineering, which changed its name to Sunbeam in 1946. Although most Australians know of this company as a major manufacturer of household appliances, its rural division flourished and retained the Sunbeam name for shearing equipment even after it was taken over by New Zealand company Tru-Test in 2001. The grinder is formed from a central arch shaped block of green painted metal. Much of this paint has been lost to age, leaving the grinder in a ‘farm used’ condition with much surface oxidation present. On the front of the arch is a specification plate, reading “Cooper S.E. ball bearing grinder. Made and guaranteed by Sunbeam”. At the foot of the arch, three bolt holes are found for securing the grinder to the base of a solid wooden surface. Two of the bolt holes are found on the front of the grinder, with another found on the rear. From the central arch, a bolt protrudes to the right of the grinder. This large bolt is for securing a grinding plate to the grinder. Above the central arch is a pendulum which holds the comb / cutter that is being sharpened. From the pendulum, a large arm extends down (not pictured) to meet and strike the plate spinning at a rapid speed. On the left-hand side of the central arch of the grinder, a wheel is found which a belt is attached to for power. This belt is then attached to a separate engine, spinning the wheel and hence powering the grinder. The wheel is partially covered with a section of protective bent tube, designed to provide protection from the rapidly spinning wheel. Below this wheel is the belt shifter. It is designed to move the protective bent tube from one side of the grinder to the other, to accommodate the grinder in the setup of different shearing sheds. The two separate grinding plates are identical. They have a slight slope for sharpening the comb and cutters in the correct method, with a slight bias towards the base, or “tooth”, of the equipment. The disks have a large central bolt for attaching to the grinder. They have tags on the horizontal axis of the grinding plates, for securing the plates in transportation, and to help with initial alignment when setting up the grinder. The reverse of these grinding plates has the same green painted metal finish found on the grinder. This paint is also in a ‘farm used’ condition, with surface oxidation present. The grinder would be provided from the factory with a comb holder, shifter for securing the grinding plates, emery cloth and emery glue. The emery cloth is what does the actual grinding and is applied to the grinding disks, replacing once well worn. These items can be seen in the final images in the multimedia section, showcasing advertising for this grinder. Plate. Inscribed. “Cooper / S.E. BALL BEARING GRINDER / MADE AND GUARANTEED BY / Sunbeam / CORPORATION LIMITED / SYDNEY MELBOURNE / ADELAIDE BRISBANE ”sheep shearing, shearing equipment, sunbeam, grinder -
The Beechworth Burke Museum
Photograph
This item has two photographs split horizontally. The top photograph was taken of Camp Street, Beechworth, looking south and the bottom image was taken of Ford Street, Beechworth, looking east.Black and white photograph printed on matte photographic paper. Obverse: Camp Street looking South / Ford Street looking East / Reverse: 1997.3095 / AO3192 / PH 77 / post 1906. / GH. Farley listed 1917-1918. / around 1910. See Camp St. Photo of Coronation arch Showing street lamp beechworth, camp street, ford street, burke museum -
Federation University Art Collection
Painting - Mural, French, Leonard, 'The Tapestry' by Leonard French, 1959
Artist Leonard French said of this work:- "The centre panel suggests a tree of knowledge growing out of a jewelled fish (a spiritual accompaniment is intended), and from the tree birds rise, spreading out through the cloud shapes of the other panels. Hands and figures rise from the earth, reaching for the birds. The left hand panel depicts the journey of figures in a boat, the seeking after or journeying to the source of knowledge. The far right hand panel is the garden, figures in a primitive state, a sort of evolution of figures from a primitive garden (the first garden). Visualization, verbalization, music and dance are tools we have to express a concept. The analysis of an art work is a delicate and sensitive task and great harm can be done in an attempt to become verbal about a form which relies upon elements peculiar to itself for intrinsic meaning." Leonard FRENCH (OBE) (08 October 1928 - 10 January 2017) Born Brunswick, Victoria Died Heathcote, Victoria Known for his enormous dalle de verre (concrete and slab glass) ceiling in the Great Hall of the National Gallery of Victoria Leonard French produced a large body of work throughout his lifetime. French won the Sulman Prize in 1960, and the Blake Prize for Religious Art in 1963 and in 1980. He was also awarded a Harkness Fellowship in 1965. In the Queen's Birthday Honours of June 1968 he was appointed an Officer of the Order of the British Empire. In early 1959 Leonard French was commissioned by the Ballarat Teachers' College students to paint a mural. The students were responsible for the payment of the work. When unveiled artist George Bush remarked: "the 1959 students have left something not just to 'oooh' and 'ah' at, but something that is thought provoking, arresting and interesting. This work of art keeps something in reserve and draws you to search for deeper meaning behind the splendour of colour. This mural is not one which will not fade the interest of its beholders, but one which will provide intrigue for generations to come." Originally French intended the mural to be five panels, each entitled (left to right) 'the Journey', 'Man', 'The Tree', 'The Earth', 'The Garden'. The finished mural was reduced to four panels with the central tree incorporated into the panels 'Earth' and 'Man'. Ballarat Teachers' College Art lecturer Arch Cuthbertson explained that the artist:- "Aims at evoking emotional flashed, opening doors to simultaneous thinking and feeling. To accomplish this he juxtaposes the threads of conscious and unconscious images, thus effecting a tapestry that allows many points of reference to converge upon his singular images. Whether the colours offer metaphysical sensations or convey a literal meaning will depend upon the breadth and depth of the viewer's experience. Similarly with the bird - we might well ask is it a defiance of gravity, a metaphysical ascension or the elusive winged knowledge? Again the answer could well be that these three associations have a singular purpose. " This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A four panel mural by Leonard French, commissioned and gifted by the Ballarat Teachers' College Student in 1959. Art lecturer Arch Cuthbertson was highly involved in this commission. Artist Charles Bush unveiled the mural at the Ballarat Teachers' College in Gillies Street, Ballarat. At that time he said:- "You have left behind you on object which will be full of interest to a lot of people. A work of art, so long as it is in existence, is constantly under review. Most of the good things that keep on going are usually to the uninitiated a little worrying. Many of you will be worried by this, because it does not make its message immediately clear. But come back and assess it again and again." art, leonard french, french, artwork, mural, ballarat teachers' college, class of 1959 -
Mission to Seafarers Victoria
Photograph - Photograph, Black and white, Reverend John Reginald Weller, The Chaplain's Quarters: Dining Room, c. 1926
This photograph depicts the interior of the dining room of the Manse with the 6 chairs and table decorated with flowers. Behind the table is the arched cast iron fireplace (lost) with mantelpiece with a clock and candelabras. On the left side we can see the corner of the oak console and on the right another cupboard and a framed painting. The photograph also shows the wooden floor covered with rugs. Unfortunately it has been carpeted in the late 20th century.This photograph is a rare view of the Manse and the private life of a chaplain. It also depicts the original and now heritage listed arts and crafts furniture dating from around 1909.Black and white interior photograph of the dining table and chairs taken in the Manse room. Chaplain's quarter: dining roomreverend john reginald weller (1880-1969), manse, table, chairs, mantelpiece, fireplace, weller album, dining suite -
Ballarat Tramway Museum
Postcard - Ballarat 9 views - Rose Stereograph, Rose Stereograph Co, early 1980s
Postcard containing a 3 x 3 panel of 9 images of Ballarat Tourist locations - Ballarat Trams featuring tram 27 in the later SEC Colour scheme, Begonias, Arch of Victory, Curiosity Shop, Gardens hot house, Kryal Castle, Sovereign Hill and the Reptile Park. Produced by Rose Stereograph Co. of Glen Waverly, No. 1679. Tram 27 was repainted in an early SEC Colours during 1984.Yields information about Ballarat tourist attractions during the early 1980s.Postcard - plain edges, divided back, 9 images of Ballarat Tourist locations.ballarat, trams, tramcars, btps, tourism, tram 27, gardens -
Federation University Historical Collection
Booklet, Ballarat: The Garden City
Soft Covered souvenir booklet. Images include * Ballarat Botanical Gardens * Wallace Statue * Sturt Street with Tram * Eureka Stockade Memorial * Lake Wendouree * Ballarat Town Hall * Begonia Glasshouse * St Andrew's Kirk (Presbyterian) * St Peter's (Anglican) * Statues * Ballarat Post Office * Ballarat State Offices * Ballarat Orphanage * Queen Elizabeth Benevolent Home * Adam Lindsay Gordon's Cottage * Lydiard Street * Congregational Church * Ballarat Cenotaph * St Patrick's Cathedral (Catholic) * St Patrick's College * Ballarat Arch of Victory * Arch of Vitoria * Eureka Swimming Pool (natural water) * Prime Ministers Avenue (statues) * I & R. Morley Pty Ltd ballarat botanical gardens, wallace statue, sturt street with tram, eureka stockade memorial, lake wendouree, ballarat town hall, begonia glasshouse, st andrew's kirk (presbyterian), st peter's (anglican), statues, ballarat post office, ballarat state offices, ballarat orphanage, queen elizabeth benevolent home, adam lindsay gordon's cottage, lydiard street, congregational church, ballarat cenotaph, st patrick's cathedral (catholic), st patrick's college, ballarat arch of victory, eureka swimming pool (natural water), prime ministers avenue (statues), i & r. morley pty ltd, ballarat, arch of victory, ballarat churches -
Yendon History Group
Photograph, Untitled, Yendon Catholic Church, Early 20th century
Importance of religion in the Yendon community is evidenced by the two churches. This is the weatherboard building of the catholic church and there was also a brick Anglican Church. Both these buildings were eventually removed when congregations declined as the community declined in the twentieth century.The catholic church was looking a bit delapidated in this photo taken just before it was demolished. Locals recall how the priest had to contend with all the birds nesting in the roof as the church slowly deteriorated.This is the only known photo ( as of 2010) of the Catholic Church in Yendon before it was removed.Enlarged printed copy of scanned Sepia photo of the Catholic Church, a wooden structure with a pitched tin roof, at Yendon just before it was removed.The grass is high and the barbed wire is not strained. The arched church windows have several broken panes of glass.It is a rectangular building with two additional spaces - an entry and a vestry. religion, tin roof, church, yendon, catholic, arched windows, vestry, broken panes of glass, weatherboard churches, pitched roofs, barbed wire -
Glen Eira Historical Society
Photograph, Murrumbeena Road, 230, Murrumbeena, 2001
Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer unknown.City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of an unpainted variegated brown brick house. Other features include a square porch with 2 open arches, tiled roof, white sash windows, striped awnings and low unpainted matching brick fence in the foreground with "230" on the brick pillar with white cast iron gate beside the driveway.murrumbeena, houses, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, porches, murrumbeena road, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, gardens, beauville historic area, brick features, brick fences, arches, sash windows, striped awnings, cast iron work gate -
Glen Eira Historical Society
Photograph, Dalny Road, 15, Murrumbeena, 2001
Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer unknown. City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of an unpainted variegated brown brick house with decorative brickwork. Other features include tiled roof, double-arched porch, 2 tall feature chimneys, white-framed sash windows, awnings, a concrete driveway and a trimmed hedge with an unpainted low brown brick pillar and fence in the foreground.15murrumbeena, houses, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, dalny road, porches, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, gardens, beauville historic area, brick features, arches, chimneys, sash windows, awnings, brick fences, hedges -
Ringwood and District Historical Society
Archive, Collection of Family History material relating to the Wanke Family, starting with Ernst Gottlob Wanke. Includes extensive handwritten history
Wanke Family History, handwritten, together with shipping and ware records, section on each of his 15 children, land titles including Hillcroft, photographs etc. pdf's 1-6 are in sequence as per the original contents of Lever Arch file. The first 5 parts contain information on the 15 children in sequence. -
Bendigo Historical Society Inc.
Photograph - AULSEBROOK AND MARTIN COLLECTION: METROPOLITAN HOTEL, HARGREAVES AND BULL STREETS, INTERIOR
Colour photo: Metropolitan Hotel interior. Image shows people sitting at tables in the lounge of the Metropolitan hotel. Wooden bar, timber floor. Arched window in background of photo. On rear of photo: 'Aulsebrook & Martin Pty Ltd., Photographers, 6 Ruth St., Golden Square 3555 Phone 054 437565bendigo, buildings, metropolitan hotel, hargreaves street -
Bendigo Historical Society Inc.
Photograph - WES HARRY COLLECTION: PALL MALL, 1861 ?
Photograph of a section of Pall Mall, Sandhurst (probably westwards from Bull Street). The photo has been taken from the middle of what is now Rosalind Park. There is an arched sign approx. in the middle of the row that reads ' Rowkirk and Co. In the foreground there are a number of Straggling mature trees as well as several dead onesBatchelderplace, streetscape, pall mall, batchelder, pall mall, rowkirk and co. -
Bendigo Historical Society Inc.
Photograph - BENDIGO HOTEL COLLECTION: RIFLE BRIGADE HOTEL
Colour image: two storey hotel, dark green façade, white trim. Two storey verandah, lacework painted white. Arched windows on bottom storey. On top storey on pediment 'Rifle Brigade Hotel' in white paint. Hotel located in View Street, Bendigo. Appears to be late 1970's?bendigo, hotel, rifle brigade hotel -
Bendigo Historical Society Inc.
Document - MARKS COLLECTION: DRAWING FOR ELEVATION OF DOOR
Drawn on waxed paper. On top of plan 'Elevation of Door' printed in black ink, on bottom 'Scale an inch to a foot'. Plan shows double doors, arched window above. Contained in items from Fortuna Villa, although not marked as such. On bottom of plan purple ink stamp 'Vahland & Getzschmann, Architects, Sandhurst'.Vahland & Getzschmann, Architects, Sandhurst.bendigo, house, fortuna villa -
Federation University Art Collection
Work on paper - Artwork, Cuthbertson, Archibald, 'Phoenix' by Arch Cuthbertson, 1961
Arch CUTHBERTSON (1 December 1924-2000) Born Geelong, Victoria Archibald Frederick Cuthbertson was a painter, sculptor, printmaker and mural painter. He lreceived a Diploma of Fine Art from Royal Melbourn Institute of Technology in 1951. He lectured in Art at the Ballarat Teachers' College. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.ModernistFramed silkscreen Purchased by the Ballarat Teachers' College , 1961 Signed in yellow, lower right side, 'A. Cuthbertson 1961'art, artwork, arch cuthbertson, printmaking, silkscreen, ballarat teachers college, ballarat teachers' college art collection -
Ringwood and District Historical Society
Photograph Album, Photograph album containing photographs of staff and students of East Ringwood Primary School No. 4180 over the period 1983-1993. Colour; Lever Arch style album. All photographs in archival pockets. Estimate 82 pages 200 photographs. Album has black/grey cover. Some photos have names
Photograph album containing photographs of staff and students of East Ringwood Primary School No. 4180 over the period 1983-1993. Colour; Lever Arch style album. All photographs in archival pockets. Estimate 82 pages 200 photographs. Album has black/grey cover. Some photos have names. -
Federation University Historical Collection
Document, Robert Le Poer Trench Research Notes
Two lever arch folders with pages relating to Robert Le Poer Trench. .1) Robert Le Poer Trench (geneaology) Henry Charles Darvall , Sadlier .2) John Sadlier, Robert Le Poer Trench, marriage certificate of Sophie Le Poer Trench, William Grant, Exiles from Erindianne campbell goldfield lawyers collection, robert la poer trench, sadlier, bury, william smith o'brien, hall, castieux, darvall, henry charles darvall, francis sadlier, irish, william o'brien, john hall, john buckley castieu, family history, genealogy -
Victoria Police Museum
Photograph (police car), Kodak
Close-up photograph of 4.3 litre 6 cylinder Alvis Wireless Patrol car registration number 174-614 at Russell Street garage with significant damage to the front right hand wheel arch, circa 1937. Over the windscreen is the illuminated "Police" sign and on the roof are metals tubes containing the wireless aerials.police vehicles; transport; motor police branch; alvis car; wireless patrol; russell street -
Glen Eira Historical Society
Photograph, Beauville Avenue, 5, Murrumbeena, 2001
Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer unknown. See also 2104A-06.City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of white rendered house with a car parked on the front lawn of the garden. Other features include an enclosed porch with unpainted brick edging with number "5" on the arched entrance, tiled roof, tall chimneys, striped black and white awnings and a low unpainted brick side fence beside the concrete driveway.murrumbeena, houses, beauville avenue, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, porches, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, gardens, beauville historic area, chimneys, rendered houses, drives, cars, brick fences, striped awnings -
Bendigo Historical Society Inc.
Textile - MAGGIE BARBER COLLECTION: PAIR OF PINK ORGANZA DOYLEYS, Early 1900's
Textiles. Basically circular in shape, but cut and hemmed in a geometric 16 sided manner. Edges are cut and hemmed in a drawn fabric manner, and this is repeated in a decorative way, in the centre of the doyley, echoing the outer shape of the doyley. ''Spots'' are embroidered in white thread, as are small flowers and leaves, in an arching shape on each side of the central square.textiles, domestic, pair of pink organza doyleys -
Villa Alba Museum
Photograph - Arched entrance to portico, c.1987
Built for William and Anna-Maria Greenlaw in the early 1880s, and with interiors decorated by the Paterson Bros, Villa Alba remained in private ownership until 1949. From 1950, the house was owned by a number of institutions. By 1984, the Villa Alba Preservation Society had been formed, and three years later, the Mount Royal Hospital granted a 25-year lease to Kew Council. In 2004, the title to Villa Alba was passed by the Victorian Government to The Villa Alba Museum Incorporated. The Museum, at 44 Walmer Street, Kew, is now a cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration.This is one of a number of historically and aesthetically significant photos of the interiors and exterior of Villa Alba when it was still owned by the Mount Royal Hospital, showing twentieth century accretions and deterioration of the historic fabric of the building. This was a benchmark survey against which future conservation and restoration activities can be measured.In December 1987, Mockridge Stahle & Mitchell Pty Ltd Architects prepared ‘Villa Alba Survey: A Report on the fabric for Mount Royal Hospital’ of which this photograph is a part. Photo of one of two arched entrances to the portico on the ground floor with the main entrance door. Above this raised portico is the central tower at the front of the house. villa alba museum, conservation photographs, victorian architecture, porticos, towers, romanesque revival arches -
Villa Alba Museum
Photograph - Arched entrance to portico, c.1987
Built for William and Anna-Maria Greenlaw in the early 1880s, and with interiors decorated by the Paterson Bros, Villa Alba remained in private ownership until 1949. From 1950, the house was owned by a number of institutions. By 1984, the Villa Alba Preservation Society had been formed, and three years later, the Mount Royal Hospital granted a 25-year lease to Kew Council. In 2004, the title to Villa Alba was passed by the Victorian Government to The Villa Alba Museum Incorporated. The Museum, at 44 Walmer Street, Kew, is now a cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration.This is one of a number of historically and aesthetically significant photos of the interiors and exterior of Villa Alba when it was still owned by the Mount Royal Hospital, showing twentieth century accretions and deterioration of the historic fabric of the building. This was a benchmark survey against which future conservation and restoration activities can be measured.In December 1987, Mockridge Stahle & Mitchell Pty Ltd Architects prepared ‘Villa Alba Survey: A Report on the fabric for Mount Royal Hospital’ of which this photograph is a part. Photo of one of two arched entrances to the portico on the ground floor with the main entrance door. The cement render is detailed to resemble stone block work.villa alba museum, conservation photographs, victorian architecture, porticos, towers, romanesque revival arches, cement render -
Kiewa Valley Historical Society
Spurs and Stirrups x8 pieces
The spur is used in many equestrian disciplines.Most equestrian disciplines have rules covering spur design and use. Spurs are usually held on by a leather spur strap that goes over the arch of the foot and under the sole in front of the boot heel. The stirrup is a light frame or ring that holds the foot of a rider, attached to the saddle by a strap, often called a stirrup leather. Stirrups are usually paired and are used to aid in mounting and as a support while using a horse.E. Fisher grew up and lived at Mongan's Bride in the Kiewa Valley. Horse riding was common in the Kiewa Valley especially before the introduction of motorised vehicles.A spur is a metal tool designed to be worn in pairs on the heels of riding boots foe the purpose of directing a horse to move forward or laterally while riding. It is usually used to refine the riding aids and to back up the natural aids eg. the leg, seat, hands and voice. A stirrup is a light frame or ring that holds the foot of a rider, attached to the saddle by a strap, often called a stirrup leather. Stirrups are usually paired and are used to aid in mounting and as a support while using a horse. The spurs and stirrups are made of steel and the straps of leather.horse riding, spurs for horse riders, stirrups for horse riders, e.fisher -
Eltham District Historical Society Inc
Negative - Photograph, Hurst's Bridge, c.1912
The area of Hurstbridge was originally known as Hurst’s-bridge after the timber bridge built over the Diamond Creek near Hurst’s station in late 1881/early 1882. A large group of people can be seen strolling across the timber bridge over the Diamond Creek on Hurstbridge-Arthurs Creek Road, Hurstbridge. It was built by John McDonald, of Arthur's Creek and was demolished and replaced in 1917 by a reinforced concrete arch bridge designed by John Monash.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Negshire of eltham pioneers photograph collection, 1912, bridge, diamond creek (creek), hurstbridge, hurst's bridge -
Eltham District Historical Society Inc
Negative - Photograph, Hurst's Bridge, 1885
Looking northwest onto the first bridge at Hurstbridge, 1885. The area of Hurstbridge was originally known as Hurst’s-bridge after the timber bridge built over the Diamond Creek near Hurst’s station in late 1881/early 1882 on the Hurstbridge-Arthurs Creek Road, Hurstbridge. It was built by John McDonald, of Arthur's Creek and was demolished and replaced in 1917 by a reinforced concrete arch bridge designed by John Monash. Cross Reference Photo No.(s): 1012/1013This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Negshire of eltham pioneers photograph collection, hurstbridge, bridge, diamond creek (creek), hurst's bridge