Linton Football Club won the premiership in 1922. This is one of several copies of the photograph in the LDHS collection.Sepia postcard photograph of a group of footballers posed for team photograph. Club officials are on the left and right side of the back row. An umpire wearing light-coloured clothing and long black socks or stockings is on the left of the front row. The player fourth from the left in the middle row is holding a football on which is written "LFC / PREMIERS / 1922 / LFC"."Post card",linton football club, premiership 1922, sports

Two ladies hand brushes with porcelain 'doll' tops (handles). Figurines are different but both have lace (silk?) ribbon wound around 'hips' and 'dress' of fine brush material (hemp?). Both figurines are female in different poses with arms and head positions and varying coloured attire. Inscribed catalog number in ink - U2671 and U2672.domestic equipment, cleaning, brush

The Davis family are the group in the photograph. The two young boys standing in the back row are identified as Alfred Davis and Percival Davis on RHS.A photo of a family posed in a garden setting. The group comprises a man & woman, 3 young women, 3 young men & 2 girls. The dress is consistent with the late 19th century.The photo is mounted on a grey cardboard matt with areas of foxing, 2 top central pin holes and an area of residual staining from sticking tape.Matson and Frazer 264 Collins Street Back cover: Eric Boardman Collectiondavis family, davis, alfred, percival, george evans collection

The Wedgetail Eagle (aquila audax) is one of the largest birds of prey located in Australia, Indonesia and Papa New Guinea. It feasts mostly on rabbits but can target mammals as large as koalas, wombats, possums and small kangaroos. The darker the colouring, the older the bird is. A mostly dark brown feathering can suggest over 10 years old, though females are usually paler. This species mates monogamously for life. They circle high in the sky to avoid temperatures close to the ground and to assert their dominance over their territory. This specimen is lighter than many documented photographs of the species. They're usually less patchy / speckled with lighter colours on the chest and back. Documenting the wingspan of this specimen would be of interest because some have been measured up to 230cm. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This wedgetail eagle is posed with the head turned to the left. It has mostly dark brown feathers which is common for older birds in this species. Speckled light brown and white feathers cover it's neck, chest and a middle strip across the wings. This specimen stands upon a wooden platform. The bill is light grey and long legs dark brown. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, wedgetail eagle, aquila audax, birds of prey, australian bird, eagle

Illustrative photograph of Dr. Kilpatricks residence at Yarra Glen. Reproduced as one of a montage in "The Leader" January 6th, 1894 page 31. The house is fenced with an established front garden. A horse and cart and people pose in the foreground. Dr. William Kilpatrick was in practice around Yarra Glen & Lilydale during the late 1880s - 90s. He married Honorah Farrell, the daughter of the local publican and a son, William was born to them in Omeo, 1906. He died in Castlemaine in 1925 Source: Mrs. E.W. Motschall (nee Marjorie Smith), Long Gully Road, Panton HillThis 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 imagesepp, shire of eltham pioneers photograph collection, yarra glen, cave hill, dr. kilpatrick, "the leader"

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Patons and Baldwins and contains knitting patterns for mens garments. Several of these patterns could be knitted for use by the Armed Forces, including a balaclava and a splint cover for a Bohler Walking Iron (a type of splint used where the foot must not touch the ground or bear any weight, eg. in cases of ulceration). The back cover illustration depicts a man wearing a knitted cardigan, posed with an Australian Army slouch hat and standing in front of an encampment.Knitting Book (front cover) - Patons and Baldwins' Specialty Knitting Book no. 122, WWII. Knitting Book (back cover) - Patons and Baldwins' Specialty Knitting Book no. 122, WWII.No. 122 / 6D. / PATONS & BALDWINS' / SPECIALTY / Knitting Bookworld war ii handicrafts - history knitting, patons and baldwins (australia) ltd, world war ii, handicrafts - history, knitting

Relates to Acting Captain “John Eric Wiles” VX16067. Posted Middle East 1940. Part of his collection. Refer Cat. No. 5410P for his Service Details.Series of black and white/ sepia photos. 1. Portrait B & W photo of soldier standing in front of a snowman in Syria. 2. Landscape, sepia photo of an officer in uniform posed to camera. 3. Landscape B & W photo of Jack Wilks in a tent in an Army base in Syria. 4. Landscape B & W photo of the Officer's Mess in Australia.On back of photos; 1. "A snowman and myself. Syria - New Year 1942" 2. Stamp on back. G 17. 3. Detailed little message from Syria. 4. "Our Mess" Australia 44.postcards, captain john eric wiles

This railway station building was erected in 1887 and closed in 1990. Now a new chapter begins with a newly restored station building amd platform that re-opened in October 2010 to be used by the Wycheproof Community.The Wycheproof Railway station constructed by Hossack & Brown in 1887 is Heritage listed and is on the Government Buildings Register. This photo is one of only a few available of the early days of the Station.The complex is historically significant at a State level AHC A.4. The Railway station contains significant detailing such as in the turned timber posts and overall composition. This early photo of Wycheproof railway station, shows a construction of timber with corrugated iron clad roof,in c.1904. Features of the design are the timber verandah posts with decorative elements which include chamfers and supporting diagonal timber brackets. The gabled roof has finials on the east and west ends. Seven people pose on the platform,the staff in uniform of the times.Nilregister, , railways, wycheproof, historic buildings, 1900s

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of four seagulls on a blue, orange and yellow diamond-shaped grid. The seagulls are created through black outline and shading. Seagulls are in various poses, all with wings extended. The grid alternates from blue diamond shapes to those which fade from orange at the top to yellow at the bottom. The grid is surrounded by a blue and white cloud-like border.Front: 12/20 Cape Nelson at Sunset. Catherine Taylor Back: 43

Displayed at History House. Original presented by Edward Henty Smallpage to Stokesley in around 1934Black and white photograph of a standing woman in 19th century dress. Her dress is a dark colour and she is wearing a white cap with trailing lace/fabric back. She is posed in a room with floral wallpaper, standing behind a chair with her hands clasped in front of her. At bottom of frame are the details of the donation of this item. Framed under glass in wooden frame.Front: PRESENTED TO THE TOWN OF PORTLAND BY THE PARISH COUNCIL OF STOKESLEY, ENGLAND 1984 (typed, upper case). Mrs. Jane Henty, wife of the Hon. Stephen George henty, M.L.C. The first white woman in Portland, the earliest permanent settlement in the State of Cictoria, Australia. Born at Stokesley, 8th February 1817, daughter of Captain Walter Pace. Landed at Portland, June 1836. Died at Hamilton, Victoria, 3rd February 1906. This portrait is presented on the Centenary Anniversary of the foundation of Victoria, 19th November 1934, by her Great Grandson, EDWARD HENTY SMALLPAGE, M.B., Ch.M. (Syd), F.R.C.S. (Eng).henty, jane henty, portrait photography

A walking group on an outcrop in the Grampians.The photo shows a group of ten people, seven women wearing long dresses, a man wearing dark trousers and jacket, a light coloured shirt and a hat, and two boys wearing dark clothes and caps, posed on a rocky outcrop/lookout. A number of people in the party are carrying long walking sticks. In the background another range can be seen across a valleyscenery, lookouts

Black and white photograph mounted on dark brown frame. 18 young men posing for photograph in 3 row structure - on the background, arena style sitting area - and serious man on top left, dressed in 'detective' style. They are all in Victoria Police Football Club uniform, white or dark shorts, socks to the knees, sporting boots and shirts with VFP letters.Handwritten in the front of the frame, bellow photograph: Victorian Police Football Club June 1926 Handwritten on the back of the frame: 41502 // Bill 20 years Victoria Police Football // Team 1926 // Premiers Mid Week Association // 1926 BILL POULTER // FRONT ROW EXTREM RIGHTvictoria police museum, police officers, police academy, police force, football, sports, vpfa, william, poulter, bill poulter, victoria police football team, victoria police football club

Black and white photograph mounted on grey frame. 17men pose for photograph in forma suits in 3 row structure (front ones hold hats on their laps). *Most of them wear Freemansonry waistcoast chain. Photograph was taken during King George time - VPRG They stand in terrace of open brick building (on the back), with large windows and some plants.Printed above photograph: POLICE COLLEGE << Course No.1 -- November, 1958 - June 1959 >> Printed bellow photograph: Left to Right, Back Row: Stn. Officer Mooney, Sgt. Sheather, Det-Sgt. Carter, Sgt. Poulter, Sgt. Mooring, Sgt. Pearson, Sgt. Comrie, Sgt. Sharkey, Det.Sgt. McKnight. Centre Row: Sgt. Scotney, Insp. Hynes, Sgt. Long, Sgt. Payne, Insp. Houghton, Sgt. Peach, Sgt. Moore, Sgt. Heath, Sgt. Rose. Front Row (Directing Staff): Mr. C. H. Smith, Det-Sgt. Warne, Insp. Quill, Insp. DeLany, Insp. Milner, Det-Sgt. Braybrook, Mr. R. Crowling.victoria police museum, police officers, police academy, police force, freemasonry, masons, free masons

The site of H A ("Herbie") Sherriff's business, Emerald Motors, was a former blacksmith's shop on the corner of Main Road and Kilvington Road. The sign over the shop bears the word "PLUME": This was a "motor spirit" (fuel) produced by Standard Oils and sold in Australia 1916-1954.The signage and the two cars visible (one late model and one early) establish the time the photograph was taken. Black and white photograph of shopfront of H A Sherriff's Emerald Motors business. White car (Austin?) visible in workshop entrance, dark older car in profile on right. Sign over garage shows Mobil "Pegasus" logo and word "PLUME" . Five men and a dog standing around casually, a sixth man (Herbie Sherriff?) posing next to white car. emerald motors, herbie sherriff

The large plaster Illisos depicted in the back of this image is still held by Federation University Australia. The Ballarat Technical Art School (No. 10) was part of the Ballarat School of Mines and was established in 1907. After conducting classes in various locations around Ballarat a custom built art school was erected on the site of the former Ballarat Circuit Court House, previously used as the initial building of the Ballarat School of Mines. Examples of drawings undertaken by students, as well as some plaster castes are held in the University of Ballarat Historical Collection. The Ballarat Technical art School is the oldest continuous Tertiary Art School in Australia. Sir Alexander Peacock opened the new Ballarat Technical Art School building in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios could be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above. (http://guerin.ballarat.edu.au/curator/buildings/technical_art_school.shtml) Black and white mounted photograph showing eleven students of the Ballarat School of Mines Technical Art School drawing from plaster models of human bodies in various poses and of various scales. The students are in a room of the Ballarat Technical Art School which was custom built for teaching art. The image was reproduced in the 1920 Ballarat School of Mines Students' Magazine. drawing, ballarat school of mines, ballarat technical art school, art studio, plaster caste, gribble building, illisos, hercules, drawing from the antique, visual arts

Port of Portland Authority archivesFront: (no inscriptions) Back: Gordon Dunn/ Publicity Officer PHT (blue pen, centre)port of portland authority archives

Sepia photograph. Twenty nine mine workers posed in three lines. High stone retaining wall behind. Timber and iron buildings behind. Some men holding tools - blacksmiths with leather aprons holding hammers. One man holding a shovel, one man holding a saw. Inscriptions: on board in front of men 'Lansell's Big 180'person, group, mining

Group of six postcards depicting different actresses from theatre productions in Australia. They are addressed to either Mrs. A Stephens or Miss C. Palmer. (a) Miss Billie Bourke. (b) Miss Nance O'Neill. (c) Two girls posing in costume, names unknown. (d) Miss Zena Dare. (e) Miss Delia Mason. (f) Miss Edna May.Telma and Co. Melb. And Sydney Copyrightpostcard, actresses, a. stephens, c. palmer, nance o'neill, billie bourke, edna may, delia mason, zena dare

Photograph of four men and two women in wedding pose. The two women are standing either side of a male sitting in a chair, there are two other males standing behind them and on the right of the group is a clergyman. Bride is wearing an ankle length bridal frock with tiara and veil and white shoes, the other lady is also wearing white and both are carrying bouquetsperson, group, wedding party, wedding party

Copy of sepia photograph. On bottom of photo: 'Gravel Hill State School, Sandhurst, No. 1566, J. Bartley, Head Teacher'. Image shows brick school building, hundreds of school children posed in front of building. Boys and girls in separate groups. Written on back in biro ' school mum Pise (?) Carward ..... went to' Receipt number 355/16bendigo, business, carwardine soap and candle

Queen Victoria’s appreciation of German artist Franz Xaver Winterhalter (1805-1873) began after she saw portraits by him of other European monarchs. Accordingly, between 1842 and 1861 he made fifteen visits to England and painted over 100 portraits of Her Majesty, the royal family and other friends and dignitaries. In 1843 Winterhalter was commissioned to paint matching portraits of Queen Victoria and Albert, the Prince Consort. These originals hang in the Garter Throne Room at Windsor Castle and are part of the UK Royal Collection. Many legitimate copies of Winterhalter’s portrait were produced and presented to the Parliaments of the British Empire, including the Parliament of Victoria. Such copies are referred to as “After F. X. Winterhalter” and artists responsible include William Corden and John Prescott Knight. When creating copies, artists were not restricted by the size of the original portrait. Walterhalter’s original is 2.7m x 1.7m whereas copies can reach an impressive 4.5 metres in height. The portrait that hangs in Queens Hall at the Parliament of Victoria is not signed. Comparison with other copies of the work suggest that the Parliament’s painting may have been completed by William Corden. The Government Art Collection (United Kingdom), has a Queen Victoria copy in their collection and Parliament’s portrait has similar traits. A copy by John Prescott Knight which hangs in the Legislative Council in the Parliament of Tasmania is quite different, particularly with reference to the shape of the young Queen’s face, which is rounder in the Corden portraits.This portrait of Queen Victoria was presented as a gift by the British Government to the Parliament of Victoria in April 1860. Painted on fine linen supplied under Royal Warrant by the workshop Winsor and Newton, London, the frame has been embellished with elaborate wooden carvings. Framed portrait, oil on linen, of Queen Victoria. Victoria is posed in front of a curtain partially obscuring a building (possibly Buckingham Palace) in the background. Timber frame with a layer of gesso and decorative composition ornaments. There are rose, scotch thistle, clover leaf and Acanthus ornaments. A carved wood and composition element crown, resting on a tassled pillow sits on top of the frame.Canvas unsigned. Verso printed: ‘WINSOR AND NEWTON / Rathbone Place, London’. Embossed stamp into stretcher wood, stamped ‘Winsor and Newton’ in black ink.victoria queen of great britain, 1819-1901, winterhalter, franz xaver, 1805-1873, corden, william, queens hall, parliament of victoria

Finlay Currie is seated on a wooden garden bench set beside a rock-edged path up to Belgrave House. He is wearing a hat, an open-necked shirt, waistcoat and trousers, and has his legs crossed. Another man stands further up the path, posed with his right foot on the rock edging. The dog sits at his feet.

Series of three black and white photographs printed on Kodak Inkjet paper of Frank Hanrahan working on the BTPS Isolating transformer during 1974 at the front of No. 1 road in the depot as part of the construction of the substation. Frank is being observed by one his sons. Could be posed, as Frank in white shirt and tie. See also Reg Item 6606 for other photographs.tramways, trams, btps, substation, depot, electric traction, electric failure

Louisa Henty (1847-24) was the eldest daughter of Francis and Mary Ann Henty (nee Lawrence). Following the deaths of her mother and father, she inherited 'Fieldplace' in Studley Park, Kew, and 'Merino Downs' in Henty, near Casterton. The original photo, owned by a descendant of Francis Henty is part of an album of family photographs.Print copy of an original carte de visite; a studio portrait of Miss Louisa Henty, daughter of Francis and Mary Ann Henty (nee Lawrence). Photographed in the Johnstone & O'Shannessy & Co atelier, she is posed in a day dress which has a polonaise and train, dating the photograph to the mid 1870s. Standard props used by the studio include imitation masonry and a curtain.Front: "Johnstone & O'Shannessy & Co"louisa henty, henty family, merino downs, fieldplace -- kew (vic)

Negative of trams 557 and 849 at Batman Avenue tram terminus. Tram 557 in foreground has destination Wattle Park - Elgar Rd and Route No 70. Photo shows tram on the right track (outwards from city), with driver and conductor standing in front of tram, posing for the camera. Tram 849 in background has destination Prahran (route not visible).Paper folder that contained the negative had "NR58A" written in red ink, "M3" written in pencil, "48A" written in blue ink, and date stamped/written as 30 Sep 1961.trams, tramways, w2 class, sw5 class, route 70, batman ave, wattle park, prahran, crews, conductors, tram 557, tram 849

This photo of a girl posing at a beach in 1976. It was probably taken to showcase the annual demonstration. Throughout the year Melbourne Legacy provided classes for Junior Legatees such as dancing, gymnastics and eurythmics, the Demonstration was an annual event to showcase their skills. Melbourne Legacy conducted Annual Demonstrations / Parades from 1928 through to the late 1970's, usually held at Melbourne Town Hall or Olympic Pool Stadium. The beautiful costumes were made by members of the Junior Legacy Mothers' Club and the Melbourne Legacy Wives' Association. Whilst the cost to Legacy was very small, the quality of the work produced was truly professional.This photograph serves as photographic evidence of the work that the Legacy Wives' Association and Junior Legacy Mothers' Club produced over the years.Black and white photo of a girl dressed as a ballerina, standing on a beach. Written on the back of the photo: "1976" Stamped on the back of the photo: "COPYRIGHT / THE HERALD & WEEKLY TIMES LTD. / MELBOURNE AUSTRALIA / NOT TO BE REPRODUCED / OR DISPLAYED WITHOUT WRITTEN PERMISSION"junior legatee, annual demonstration, costumes, ballerinas

A newspaper article promoting Legacy Week in The Age on 9 September 1960. The caption of the photo says 'Junior Legatee Jim Illingworth wore an appealing smile as he proudly displayed a Legacy Appeal poster at Legacy House yesterday. The target of today's appeal is £30,000.' He could be the same junior legatee that posed for an image of a Legacy Boy that was printed as a brochure in 1960 with the slogan 'The Legacy Boy, worthy son of a worthy father.' The article was cut from the newspaper and pasted into a scrap book of press clippings. For many years Legacy kept scrap books of press clippings that related to their work and publicity.A record of publicity photos taken in 1960 for promoting Legacy during Legacy week.Newspaper article of a junior legatee for Legacy week in 1960 pasted to brown page of a scrap book .legacy week, fundraising, junior legatee

On November 25, 2005 the Kodak Carols by Candlelight launch was held in the browsing library at Kooyong with a large number of staff and guests in attendance. Speeches were made by Gerard Menses, Graeme Innes, Greg McKibbin, Marjorie West and Marina Prior. The crowd got to open Christmas crackers and hear some songs from Marina Prior before a cake was cut and shared. Afterwards everyone headed outside for the burying of the time capsule by Jarryd Clifford and Reuben Ryan, in the garden outside the cafe. Then Marina posed for some photographs and the Kodak printing kiosk was demonstrated in the browsing library.119 images of attendees at the Carols launch and burying of time capsulecarols by candlelight, vision australia, gerard menses, marjorie west, graeme innes, greg mckibbin, jarryd clifford, ania zamecznik, sandra alder, andrew ferrarese, joanne, cherry johnson, tony clarke, lynne kells, rita townsend-booth, jennifer gibbons, roberta ashby, david blyth, margaret bashfield, colleen thom, peter lowrey, kevin murfitt, kodak, karen knight, tony shepherd, peter north, anna fairclough, ashley wood, stephen jolley, time capsule, reuben ryan

This is a photograph of crew members on the S.S. R-? Norvag. Inscription and Exact name of ship to be checked..Black and white photograph of S.S. R-? Norvag crewmen in suits and caps or fedoras . The photograph has been mounted onto a cardboard frame. The bottom reads, 'S.S. r-? Norvag" handwritten in black ink. The photograph itself is of 9 men in two rows, 5 on top row standing and 4 in the bottom row sitting on a bench.The men are posed on the ship's deck. On front with photograph:: S.S. Rine-? of Norvag Lwr r. corner very faint in pencil: E.T Lake photo. Lincoln inn , CH-? William Street / Melbnorvag, s.s. norvag, crews and ships

UnknownFive portraits of male figures in five square at top of print. Each man is in a different pose, with a blue wash background. Underneath are hand-written inscriptions identifying them as different people involved in the tuna-fising industry. The bottom part of the print is a handwritten short essay on the tuna-fishing industry. Mounted without a matt in a pale blue metal frame with glass glazing.Front: 9/40 (lower left) Tuna Fishing, Pt Lincoln (lower centre) Angela Gee '86 (lower right) (pencil) Back: (no inscriptions)