An early black and white photograph taken at the entrance to "The Hermitage" in Narbethong in Victoria.An early black and white photograph taken at the entrance to "The Hermitage" in Narbethong in Victoria. "The Hermitage" was built by photographer John William Lindt as a home and guesthouse in 1894. John Lindt had previously photographed the mountain scenery of the Black Spur and purchased 71 acres and subseqently built his home and guesthouse from where he continued his career. "The Hermitage had a garden designed by John Lindt's friend, Ferdinand von Mueller, who was at one stage the Director of the Melbourne Botanic Gardens. The garden featured New Guinea tree houses from which John Lindt made frequent panoramas of his property and the surrounding forest of towering mountain ash. Aged 81 Lindt died of heart failure during disastrous bushfires on 19 February 1926 at the Hermitage. He was survived by his wife Catherine who continued to run ‘The Hermitage’ guest house before she retired to the city.the hermitage, john william lindt, narbethong, victoria, black spur, ferdinand von mueller, melbourne botanic gardens, new guinea, catherine lindt

The photograph printed on this postcard comes from the collection of the Mitchell Library in Sydney. It is sepia in tone and depicts seven men standing and sitting around a mine shaft in the Beechworth region. The photograph has been dated to approximately 1872. This period in history post-dates the Victorian gold rushes which occurred 1852-1853 in Ballarat, Bendigo and Beechworth. During this period, in the 1870s, the surface alluvial gold had been discovered and removed from location. Therefore, in order to reach the deeper and less accessible alluvial gold, diggers began to dig shafts into the earth. These shafts sunk below the ground level by 20 to 30 feet and required timber structures around the entrance and winches to bring the paydirt to the top. The top of this wooden structure is visible behind the man standing in the upper right of the image. This type of mining was highly dangerous as mines often caved in which injured the minors and often resulted in death. Thus, following this period, in the early 1900s, miners opted instead for hydrolic slucing which cut away the earth without the devastating consequences of a mine cave in. This particular group of miners appear to have been unable to afford a horse (then worth around 50 pounds) which were generally used at mines like this to help pull buckets attached to ropes up and down the mine. Instead, this group brought the buckets up and down by windlass. The windlass was a wooden structure mounted over the mining shaft and fitted with a hand-cranked winch which enabled the bucket attached to the rope to be brought up and down.Gold was first discovered in Beechworth in Spring and Reid's Creek in the summer of 1852-1853. At its popularity, this region had approximately 8000 people on the gold fields searching for gold on the banks of these creeks. These periods did not require the use of heavy machinery or the digging of deep mining shafts like the one depicted in this image. Therefore, this image has important connotations for the technologies associated with mining during the approximated 1870s when gold was harder to access. This is a later period in gold history which does not fit into the "gold rush" period. Instead, it occurred after the surface gold had disappeared and therefore, is essential for researchers who are investigating the mining techniques and structures used to reach the alluvial gold which was located deeper under ground in the 1870s. This period predates the use of big heavy machinery used to mine in the 1900s which include dredges. Images such as this one can also impart essential information as to the wardrobe and fashion of men during this period. It also imparts knowledge about the landscape of Beechworth which is useful for people researching the environment and impact of gold mining in the north-east region of Victoria. In addition, since this image is a postcard reproduction of an early Australian image which may date to approximately 1990 it can impart knowledge as to the interests of people during this time period when there may have been an increase into Australian history.A sepia tone facsimile of an early Australian photograph (circa 1872) printed as a postcard.Obverse: BEECHWORTH / Victoria, Australia / Reverse: GM 2 3275 / CORRESPONDENCE / AUSTRALIAN / YESTERYEAR / CARDS / ADDRESS / Published by George Symons (057) 65 3240 / THE MINEHEAD C. 1872 / The easily gleaned gold of the early fields did / not last very long. In order to reach less / accessible alluvial gold diggers began sinking shafts as much as twenty to thirty feet down / and the mines required timbering and winches / to bring the paydirt to the top. / This syndicate has been unable to afford the / luxury of a horse (about 50 pounds) and so everything / must go up and down by windlass and rawhide / bucket. / Photo: Mitchell Library, Sydney / A sepia tone facsimile of / an early Australian photographmining album, gold mine, beechworth, burke museum, mine shaft, postcard, australian yesteryear cards, george symons, the minehead, gold fields, alluvial gold, early australia, c.1872, 1872, gold diggers, north east victoria

Inspector’s reports. [Book 1] Typed loose reports 1913, 1914, 1915, 1916, 1928. Written in book: 1921-1928. To Box 1912-1919.1; Inspector’s reports. [Book 2] 1920, 1930. To Box 1920-29.1. Also photocopies for 1929-1968 These are original and official education department documents reporting on the courses, staff and amenities at CTS.2 volumes, 1914-1928, 1929-30. Hard cover 'minute' books. Earlier volume has loose pages of typed reports for 1914-20. All other entries handwritten.All book entries are handwritten. Early typed entries have covering letter "from Education Department, Melbourne"collingwood technical school, cts, reports, inspectors reports, education department melbourne, inspector of technical schools, nmit,

Newspaper article glued to backing board: HERITAGE WEEK - HISTORICAL PHOTO COLLECTION The launch Heritage Week (April 8-15 [1984]), the Kew Historical Society has arranged the display of large colour photographs (the Koelmeyer-Edmonds Collection) of early suburban Melbourne Street scenes. This important collection may be viewed during Heritage Week at the City of Kew Library, Charles Street, Kew. Laurie Koelmeyer, a collector old and rare photographs, commissioned Jenny Edmonds, a noted local artist, to paint scenes such as Kew Junction, Auburn Village and the Hawthorn Railway Station in historical detail from old photographs. The paintings were then colour photographed for the heritage Week display. Kew residents will see twenty photos in all at the Kew Library. We should feel honoured that our suburb has been chosen for this display. The Koelmayer-Edmonds team was invited to launch the public exhibition in Kew at the instigation of the Historical Society and its President, Rae Brunette, who are to be congratulated for their efforts in arranging this special collection. The State Bank has indicated its support for the photographic display. Later it is proposed that the completed paintings will be exhibited at the Head Office of the Bank to coincide with Victoria’s 150th Anniversary celebrations. The display at the Kew Library is a significant honour for our City and is one which you should not miss. The Kew Historical Society can be contacted on ’80 3657.”Framed oil painting on board of the 'Commercial Heart of Kew', copied and painted from an early postcard published 1905.Labels on reverse: "THE COMMERCIAL HEART OF KEW / COPIED AND PAINTED FROM AN EARLY POST CARD PUBLISHED 1905 / RESEARCHED AND DONATED BY MR LAWRIE KOELMEYER APRIL 1982 TO KEW HISTORICAL SOCIETY." "SMALLER COPY OF THE KEW HISTORICAL PHOT0 DISPLAYED IN THE KEW LIBRARY."jenny edmonds, cotham road -- kew (vic.), lawrie koelmeyer

One of a collection of photographs and drawings donated by Mr J. W. Gliddon and used in his book "Phillip Island in Picture and Story"An early drawing of the McHaffie homestead, possibly by J. B. Henderson during the 1860's. Although unfinished it is probably an accurate portrayal."An early sketch of the McHaffie homestead" "Incomplete parts shown in pencil. Probably the most truthful record extant. J. W. G." "John David McHaffie."mchaffie homestead, phillip island, mr. j. w. gliddon

A black and white photograph of the Marysville Hotel Motel in Marysville. The photograph was taken in the early 1960s by Lloyd Hull, a local man.A black and white photograph of the Marysville Hotel Motel in Marysville.PHOTOGRAPHY/ BY/ Lloyd Hull/ 27 CANTERBURY RD, BLACKBURN WX 1696/ WHEN RE-ORDERING/ PLEASE QUOTE M-001219victoria, australia, keppel hotel, keppel's australian hotel, australian hotel, keppel family, maurice john keppel, accommodation, marysville hotel, hotel marysville, photograph, marysville hotel motel, lloyd hull

A black and white photograph of the Marysville Hotel Motel in Marysville. The photograph was taken in the early 1960s by Lloyd Hull, a local man.A black and white photograph of the Marysville Hotel Motel in Marysville.PHOTOGRAPHY/ BY/ Lloyd Hull/ 27 CANTERBURY RD, BLACKBURN WX 1696/ WHEN RE-ORDERING/ PLEASE QUOTE M-001240victoria, australia, keppel hotel, keppel's australian hotel, australian hotel, keppel family, maurice john keppel, accommodation, marysville hotel, hotel marysville, photograph, marysville hotel motel, lloyd hull

A black and white photograph of the Marysville Hotel Motel in Marysville. The photograph was taken in the early 1960s by Lloyd Hull, a local man.A black and white photograph of the Marysville Hotel Motel in Marysville.PHOTOGRAPHY/ BY/ Lloyd Hull/ 27 CANTERBURY RD, BLACKBURN WX 1696/ WHEN RE-ORDERING/ PLEASE QUOTE M-001218victoria, australia, keppel hotel, keppel's australian hotel, australian hotel, keppel family, maurice john keppel, accommodation, marysville hotel, hotel marysville, photograph, marysville hotel motel, lloyd hull

Donated by B. C. GraydenPhotograph of 6 to 7 cars parked at The Nobbies. Two figures of a man and woman in background.On Back: Cars at The Nobbies early thirties.the nobbies, phillip island, b c grayden

The annual IPS picnic was an important event where family and friends would get together. From left Nicholas Kavadeas, Marigo Kavadeas (nee Raftopoulos), Yianni Raftopoulos (Patakia).Buses were hired to transport members to the picnic as very few owned their own cars during the in the early years. Bus travel to the picnic continued through to the 70s although by then the majority travelled by private cars. The bus trips were very convivial with singing of popular Greek folk music. Black and white photograph of two men and a lady standing in front of a bus. There is a white border around the photo.Ithacan picnic Circa Early 30s

A colour photograph of an unknown group of people outside The Cumberland guest house in Marysville. The photograph was taken in the late 1950s to early 1960s.A colour photograph of an unknown group of people outside The Cumberland guest house in Marysville. The photograph was taken in the late 1950s to early 1960s.marysville, victoria, austalia, the cumberland, the cumberland guest house, cumberland house, accommodation, photograph

An early steel engraving print of Marysville in Victoria.An early steel engraving print of Marysville in Victoria by Nicholas Chevalier. Nicholas Chevalier, born in 1828, was a Russian-born artist who worked in Australia and New Zealand. In 1851 Chevalier moved to London and worked as an illustrator in lithography and watercolour. After further studies in painting in Rome he arrived in Australia in December 1854. In August 1855 he obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromolithography. He accompanied explorer/meteorologist Georg von Neumayer on trips to remote areas of Victoria, and the material gathered on such journeys resulted in some of his most recognised pieces of this period, including his painting of Mount Arapiles in Western Victoria. In 1864, when the National Gallery of Victoria was founded, an exhibition of works by Victorian artists was held. The government agreed to buy the best picture exhibited for £200. Chevalier's oil painting The Buffalo Ranges was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1865 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined HMS Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon (Sri Lanka) and India. The pictures painted during the voyage were exhibited at South Kensington. In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh. Chevalier made London his base and was a continual exhibitor at the Academy from 1871 to 1887. He had one picture in the 1895 Academy but had practically given up painting by then. Chevalier died in London on 15 March 1902. N. Chevalier 1870 N. Chevalier/ W. Forrest MARYSVILLE, VICTORIA. LONDON, VIRTUE & CO.marysville, victoria, n. chevalier, w. forrest, steel engraving, print, mount arapiles, georg von neumayer, the buffalo ranges, national gallery of victoria, hms galatea

An early steel engraving print of Marysville in Victoria.An early steel engraving print of Marysville in Victoria by Nicholas Chevalier. Nicholas Chevalier, born in 1828, was a Russian-born artist who worked in Australia and New Zealand. In 1851 Chevalier moved to London and worked as an illustrator in lithography and watercolour. After further studies in painting in Rome he arrived in Australia in December 1854. In August 1855 he obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromolithography. He accompanied explorer/meteorologist Georg von Neumayer on trips to remote areas of Victoria, and the material gathered on such journeys resulted in some of his most recognised pieces of this period, including his painting of Mount Arapiles in Western Victoria. In 1864, when the National Gallery of Victoria was founded, an exhibition of works by Victorian artists was held. The government agreed to buy the best picture exhibited for £200. Chevalier's oil painting The Buffalo Ranges was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1865 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined HMS Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon (Sri Lanka) and India. The pictures painted during the voyage were exhibited at South Kensington. In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh. Chevalier made London his base and was a continual exhibitor at the Academy from 1871 to 1887. He had one picture in the 1895 Academy but had practically given up painting by then. Chevalier died in London on 15 March 1902. N. Chevalier 1870 N. Chevalier/ W. Forrest MARYSVILLE, VICTORIA. LONDON, VIRTUE & CO.marysville, victoria, n. chevalier, w. forrest, steel engraving, print, mount arapiles, georg von neumayer, the buffalo ranges, national gallery of victoria, hms galatea

A copy of an early pencil sketch of Fernshaw in Victoria.A copy of an early pencil sketch of Fernshaw in Victoria by Louis Buvelot. Louis Buvelot ( 1814–1888), born Abram-Louis Buvelot, was a Swiss landscape painter who lived 17 years in Brazil and following 5 years back in Switzerland stayed 23 years in Australia, where he influenced the Heidelberg School of painters. Arriving in Melbourne in February 1865, after leaving the cold of Switzerland, which was impacting on his health, for the warmth of Australia, Buvelot was in business as a photographer in Bourke Street for a year but soon resumed his painting. He lived in Melbourne for a number of years before moving to Fitzroy. The National Gallery of Victoria purchased two of his paintings and he continued painting until his death in 1888. He was buried at the Boroondara Cemetery, where a large monument was erected in his memory. Fernshaw was a rural township 63 km northeast of Melbourne and 10 km northeast of Healesville. Situated on the Watts River, near where a log had fallen making a convenient crossing, Fernshaw was settled in the 1860s. It provided good country for orchards and berry growing. The location was at the foot of Blacks Spur, with Mounts Juliet and Mondah rising on either side, providing spectacular scenery. There were nearby fern gullies giving rise to the name – ‘shaw’ is old English for thicket or wood. By 1875 Fernshaw had a post office (1865), two hotels, a school (1871), and stores. It was famed for its beauty, attracting tourists. In 1886 the Melbourne and Metropolitan Board of Works began work on the Watts River water catchment scheme – later to become Maroondah – and the Board obtained approval for the catchment country to be reserved and kept free of settlement. This required the removal of the Fernshaw township, which was completed by about 1890.Fernshaw 17.2.83louis buvelot, fernshaw, victoria, national gallery of victoria, switzerland, boroondara cemetery, kew cemetery, artist

A copy of an early oil painting of Fernshaw in Victoria.A copy of an early oil painting of Fernshaw in Victoria by Isaac Whitehead. Isaac Whitehead (1819–1881) was an Irish-Australian artist who worked in watercolour and pastel. He was also a picture framer and art promoter. It is believed that Isaaz Whitehead emigrated to Australia with his family in either 1853 or 1858. Isaac Whitehead died at his home 50 Punt Road, Prahran, Melbourne, on 21 April 1881. Isaac Whitehead had established himself as the foremost picture framer in Melbourne by 1860, known for his highly ornate frames with floral decorations. Among the clients of his framing business were Louis Buvelot, Nicholas Chevalier, and Eugene von Guérard. In his own paintings, he painted a number of scenes of the forests of Gippsland, Victoria. His work focused on the rich landscapes with trees and ferns, with a high degree of botanical detail. His work won him two medals and his work was posthumously exhibited at 1884 Victorian Jubilee Exhibition, the 1886 London Colonial and Indian Exhibition, and the 1888 Melbourne Centennial Intercolonial Exhibition. Fernshaw was a rural township 63 km northeast of Melbourne and 10 km northeast of Healesville. Situated on the Watts River, near where a log had fallen making a convenient crossing, Fernshaw was settled in the 1860s. It provided good country for orchards and berry growing. The location was at the foot of Blacks Spur, with Mounts Juliet and Mondah rising on either side, providing spectacular scenery. There were nearby fern gullies giving rise to the name – ‘shaw’ is old English for thicket or wood. By 1875 Fernshaw had a post office (1865), two hotels, a school (1871), and stores. It was famed for its beauty, attracting tourists. In 1886 the Melbourne and Metropolitan Board of Works began work on the Watts River water catchment scheme – later to become Maroondah – and the Board obtained approval for the catchment country to be reserved and kept free of settlement. This required the removal of the Fernshaw township, which was completed by about 1890.isaac whitehead, fernshaw, victoria, louis buvelot, nicholas chevalier, eugene von guerard, gippsland, victorian jubilee exhibition, london colonial and indian exhibition, melbourne centennial intercolonial exhibition, watts river, healesville, blacks spur, mount juliet, mount mondah

A5 sized hardcover book. Mustard colour fabric like cover with gold markings. Also a mustard coloured sleeve Copy of book from early works to 1800British Library Cataloguing in Publication Data. Butler, Charles The Feminine Monarchie 1. Bee Culture - Great Britain- Early works to 1800

Black and white photograph, mounted on cardboard, of a horse and cart with the family of the "Stewarts". Photo taken in the early 1920s outside Roger's General Cash Store, Great Northern Township"Early 1920s at Great Northern Township, via Rutherglen. L to R Fanny Stewart, Hector Stewart, Rae Stewart, Myra Stewart."stewart family, fanny stewart, hector stewart, rae stewart, myra stewart, rogers store, general cash store, great northern township

Various views of Greensborough & district in the early 1900's.Records the houses, roads and bridge in Greensborough.2 copies of early Greensborough district photographs.Nilgreensborough, bluestone bridge, main street, aqueduct bridge, plenty river

One of the earlier nylon stocking from the WW2 era. Many believed they would melt off the legs if you stood too close to the fire.One of the earlier nylon stockingscostume, female footwear

EARLY CLUNES BUILDINGSPHOTOCOPY OF EARLY CLUNES VIEWS OF BUILDINGS CHIMNEY STACKlocal history, photography, photographs, clunes landscape & buildings

A tool to set the teeth of saws used in the early 20th centuryA metal guide used to set the teeth of a circular or crosscut saw when sharpening - i.e. to angle the teeth so that the saw bites into the wood.. It was used in the early 20th century.handsaws, woodworking saws, log saws, woodcutter saws

A black and white photo of a Junior Legacy Cricket team, probably from the 1920s or 1930s. According to a 1928 report on the early days of Legacy (01478) as well as the physical training classes provided by Legacy for the boys physical welfare there was also cricket, football, Lacrosse and swimming clubs, all supervised and coached. This photo was with other photos from the early days of Legacy, including cricket team, football team, and early camps at Somers. A record of the type of activities that Legacy provided in the early years for the young legatees in their care.Black and white photo of an early Legacy cricket team.Hand written on back 'Junior Legacy Cricket Team' in blue pen. Stamped '2 12' in blue ink.cricket, team, junior legatee

An early colour photograph of Steavenson Falls in Marysville in Victoria.An early colour photograph of Steavenson Falls in Marysville in Victoria. The Steavenson Falls is named after the Victorian Assistant Commissioner of Roads and Bridges, John Steavenson who arrived in Victoria in the early 1860s.POST CARD Printed in Australia Stamp/ Here This space may be used for Correspondence/ within the Commonwealth without/ extra postage THIS SPACE FOR NAME AND/ ADDRESSsteavenson falls, stevenson's falls, marysville, victoria, postcard, souvenir, john steavenson

An early colour photograph of Steavenson Falls in Marysville in Victoria.An early colour photograph of Steavenson Falls in Marysville in Victoria. The Steavenson Falls is named after the Victorian Assistant Commissioner of Roads and Bridges, John Steavenson who arrived in Victoria in the early 1860s. This postcard was produced by Nucolorvue Productions as a souvenir of Marysville.POST CARD NUCOLORVUE PRODUCTIONS, ELWOOD, VICTORIAsteavenson falls, steavenson's falls, marysville, waterfalls, victoria, nucolorvue productions, postcard, souvenir, john steavenson

An early black and white photograph of the township of Marysville in Victoria.An early black and white photograph of the township of Marysville in Victoria. This photograph of Marysville was taken by Nicholas John Caire in 1883. Nicholas John Caire was born in 1837 in Guernsey. He arrived in Adelaide about 1860 along with his parents who encouraged his early interest in photography. He opened a studio in Adelaide in 1867 after traveling extensively throughout the Gippsland taking photographs. After marrying in 1870 he moved to Talbot in Victoria until 1876 when he opened a studio in the Royal Arcade in Melbourne. After 1885 Nicholas John Caire gave up his city work and made his home in South Yarra and devoted the rest of his life to outdoor photography, specializing in the bush, the gullies, and the mountains of south-eastern Victoria. nicholas john caire, marysville, victoria

Early black and white photographs of John William Lindt.Early black and white photographs of John William Lindt. John William Lindt (1845–1926), was a German-born Australian landscape and ethnographic photographer, early photojournalist, and portraitist. John Lindt was responsible for a folio of photographs of the Fernshaw and Watts River area and he sold over 25,000 images of the Black Spur from his original negatives. In 1895 he was able to purchase land on the North East side of the Black Spur and subsequently built his home and guesthouse "The Hermitage" from where he continued his photographic career. In 1913 he collaborated with Nicholas Caire to produce a tourist booklet on the area. In 1925 the Argus reported that Lindt "continues to produce remarkable and most artistic pictures of the beauties of mountain landscape. He is not a believer in the blurred effects favoured by many ... instead he is a master of detail." Aged 81 Lindt died of heart failure during disastrous bushfires on 19 February 1926 at the Hermitage. He was survived by his wife Catherine who continued to run ‘The Hermitage’ guest house before she retired to the city.john william lindt, fernshaw, watts river, black spur, the hermitage, nicholas, nicholas john caire, the argus

An early black and white photograph of "The Hermitage" at Narbethong in Victoria.An early black and white photograph of "The Hermitage" at Narbethong in Victoria. "The Hermitage" was built by photographer John William Lindt as a home and guesthouse in 1894. John Lindt had previously photographed the mountain scenery of the Black Spur and purchased 71 acres and subseqently built his home and guesthouse from where he continued his career. "The Hermitage had a garden designed by John Lindt's friend, Ferdinand von Mueller, who was at one stage the Director of the Melbourne Botanic Gardens. The garden featured New Guinea tree houses from which John Lindt made frequent panoramas of his property and the surrounding forest of towering mountain ash. Aged 81 Lindt died of heart failure during disastrous bushfires on 19 February 1926 at the Hermitage. He was survived by his wife Catherine who continued to run ‘The Hermitage’ guest house before she retired to the city.the hermitage, john william lindt, narbethong, victoria, black spur, ferdinand von mueller, melbourne botanic gardens, new guinea, catherine lindt

An early black and white photograph of the township of Marysville in Victoria.An early black and white photograph of the township of Marysville in Victoria. This photograph of Marysville was taken by Nicholas John Caire in 1883. Nicholas John Caire was born in 1837 in Guernsey. He arrived in Adelaide about 1860 along with his parents who encouraged his early interest in photography. He opened a studio in Adelaide in 1867 after traveling extensively throughout the Gippsland taking photographs. After marrying in 1870 he moved to Talbot in Victoria until 1876 when he opened a studio in the Royal Arcade in Melbourne. After 1885 Nicholas John Caire gave up his city work and made his home in South Yarra and devoted the rest of his life to outdoor photography, specializing in the bush, the gullies, and the mountains of south-eastern Victoria. nicholas john caire, marysville, victoria