This is a colour photograph of a gum leaf painting that is one of many done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by A.W. Eustace. A man is panning for gold in a stream with a house and hills in the background. Under glass in a decorative gilt and cream coloured plastic frame.Hand writing on tape at back of frame: COPY OIL ON GUM LEAF 10" x 5" A W EUSTACE owned by Betty & Alf Brownlie 2260alfred eustace, gum leaf painting, chiltern, gold panning, gold

This colour photograph of a gum leaf painting shows one of the many landscapes done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by Alfred Eustace. Landscape featuring a deep creek surrounded by thick bushland displayed against dark brown backing paper which has a gilt oval surround to highlight the painting. Under glass, in a gold and dark brown metal frame.Sticker on back: 189. (the original registration number)alfred eustace, gum leaf painting, landscape

This black and white photograph of the grave of A.W. Eustace is believed to have been taken in September 1987 at the Chiltern New Cemetery. Alfred William Eustace, an Australian artist, was born in the small village of Ashbury, Berkshire, England, the son of John Eustace, Head Game-keeper to the Earl of Craven at the beautiful Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped next to the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was owned by the Withers family and was in excess of 55,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that are in the Beechworth Museum collection are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by his relatives from the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.A. W. Eustace, as well as being a well-known Australian artist, was a significant member of the Chiltern community.Black and white photograph of the grave of A.W. Eustace, under glass, in a metal frame.Sticker on back: 184 (original Registration number)a. w. eustace, grave, chiltern new cemetery

Alfred William Eustace (1820-1907), an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped beside the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth. A.W. Eustace was a significant member of the Chiltern community during the 19th century and his artwork was displayed widely, even in European royal homes.Copy of sepia photograph of A.W. Eustace in a brown wooden oval frame with a copy of A.W. Eustace's signature across the bottom of the photograph.Sticker on back: 194 Sticker on back: MADE IN/ CHINA/ FABRIQUE 'AU/CHINEa.w.eustace, photograph, chiltern

These copies of five oil on gum leaf paintings by Alfred William Eustace (1820-1907) display the subjects and detail of his small gum leaf paintings. A.W. Eustace, a well-known Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush and painted on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. He became known as the "Bush Artist." About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Alfred William Eustace was a well-known self-taught Australian artist who was known worldwide for her unique oil on gum leaf paintings. He was also a prominent Chiltern citizen.Copies of five A.W.Eustace oil paintings on gum leaf, under glass, displayed on blue paper in a black metal frame.alfred eustace, gum leaf painting, chiltern

Nicholas Scallan’s Store Stawell East c 1865-1870. In the worksheet notes: On the back of the original photograph are the inscriptions "The Scallan Grain Store and Skin Store in the early days. Stawell East. This may be mentioned in Maynard Ord's Book (Stawell Past & Present) From records many sales took place there as furniture, land sales, shares, commodities, auctions. Meetings were also held there, evidently a meeting place for miners. The lady and gentle man on the right of the photograph are Kate Scallan and Nicholas Scallan.Photograph of a small weather board building with veranda with wooden floor. The veranda has a diamond pattern around the roof edge. The windows at the front are at either side of the wooden door. The lean-to on one side has another door at the front. One female and two males are standing out the front. stawell

The Orungal was originally built in Glasgow in 1923 for the Khedival Mail Steamship & Graving Dock Company of Egypt and named the S.S. Fezara. Due to the effects on steamship companies of the Great Depression including the steep costs of building new ships and increases in running costs and port charges, no new passenger ships had been ordered in Australia since before World War One. To meet demand for passenger berths, the Fezara (5826 tons) along with its sister ship the Famaka (5856 tons, renamed Ormiston), were chartered by the Australasian United Steam Navigation Company Ltd (A.U.S.N.Co.) in 1927. Both the A.U.S.N.Co and the Khedival Mail Steamship Co. were part of the P&O Group. The Orungal operated in this role as an interstate passenger and mail steamer between 1927 and 1940, being used mainly on the Melbourne to Queensland and Western Australian runs, with 240 single class berths. Following the outbreak of World War Two six of the nine large passenger liners servicing mainland Australian passenger and mail trades were requisitioned by the Government to ferry equipment, troops and supplies. Some of them were converted to armed merchant cruisers and used for patrol work and escort duties in the Indian and Pacific Oceans. The Orungal had originally been requisitioned by the government along with the Zealandia on 25 June 1940, to transport troops to Darwin, but was returned to commercial service because "of her unsuitability", perhaps too slow for the demands of the work. Despite being rejected for patrol and convoy duties the Orungal still had a vital role as one of only three passenger liners left to service the mainland Australian trade. Following its requisitioning by the Government shortly after war broke out, it had been fitted out with defensive armament. On its final voyage arriving at Port Phillip Heads from Sydney, Captain Gilling was attempting to enter the Heads ahead of a worsening south-westerly storm and, with a minefield known to have been laid in the area, had been warned by the Navy not to deviate from the swept channel. The captain and crew held fears that in the stormy seas a mine may have been carried away. In the worsening weather a blur of lights at Barwon Heads was mistaken for Port Lonsdale, and the Orungal steamed ashore onto Formby Reef, just east of the entrance of the Barwon River - instead of passing safely through the middle of the Rip. At the Marine Board Inquiry Capt. Gilling - who had been master of the Orungal since 1926 - stated that after becoming uneasy about his position and changing course to starboard one point: " At 10.21 pm I ordered the engine room to stand by and gave instructions for the patent log to be hauled in and for the sounding-gear to be got ready. Approximately two minutes later, in a flash of lightning, I saw land off the port beam. I immediately recognised it as Barwon Heads, and ordered the helm to be put hard to starboard, but the vessel struck before she had time to answer the helm" Barwon Heads and Ocean Grove residents were startled to hear the shrill blast of the ship's whistle, followed by the bright flares and explosions of signal rockets. The Queenscliff lifeboat crew, who had responded to the tragic collision between the Goorangai and another passenger liner the Duntroon in Port Phillip Bay less than 24 hours earlier, were later praised for their efforts in safely taking off all the passengers and crew. Most of the passengers were asleep at the time of the wreck, and were woken up by the commotion, the ship shaking "from stem to stern" and stewards ordering them to lifeboat stations in driving rain. It was a dramatic time with the ship siren wailing and distress rockets being fired. It was reported that "When it was found the ship was safe, the passengers all went to the music room. There they sang and danced for several hours. The ship's orchestra played merrily, and amateur performers among the passengers clowned, danced and sang to keep the laughter going. In the early hours of the morning passengers went to their cabins, most of them to sleep soundly while the keel grated on the rocks". At dawn the Queenscliff lifeboat arrived at the scene having been launched at 2.30am, and cautiously approached the ship which was being "battered by mountainous seas". By 5am oil from a burst oil line was helping to calm seas around the Orungal sufficiently enough for the lifeboat to approach, and all the passengers and crew were taken off in several trips by the lifeboat. A Court of Inquiry later found that the wreck was caused by an abnormal set of current to the north-west and cleared the officers and crew of neglect of duty. The sight of a huge liner almost on the beach saw an unprecedented amount of traffic as people drove an estimated 10,000 cars, using some 60,000 gallons of fuel in a time of strict petrol rationing, to see the spectacle. Salvage operations began in an attempt to refloat the vessel, scheduled for the high tide on 15 December 1940. However, during these operations, at 2.30 am on 13 December 1940, a major fire broke out, believed to have been caused by spontaneous combustion in the boiler room. The ship was soon ablaze, with smoke pouring from its hatches and ventilators, and at mid-morning the magazine exploded fiercely. Of the 60 men working aboard the vessel two were severely burned and had to be taken to Geelong Hospital. The gathered spectators witnessed the eerie sight of the ship's hull glowing red when night fell. The well-known building demolition contractor Whelan the Wrecker bought the salvage rights, and methodically proceeded to dismantle the ship and its fittings. The drama was not yet over for the wreckers when - without warning - the burnt-out hulk was 'attacked' by RAAF for strafing practice. Salvage rights were transferred to another private owner in 1963. By 1945 the combined effects of the exposed location, fire and salvage had seen what was left of the wreck disappear beneath the waves. The site today is marked by two of the four Scotch type boilers sitting upright and exposed at low tide, just north-east of the small boats channel at the entrance to Barwon Heads. Large sections of steel hull plating and framing, and impressively large pieces of ships structure and machinery including masts, booms, deck winches, propeller shaft, flywheel, and a thrust block lie scattered about and make the site an interesting shallow dive. It is interesting to compare the site of the Orungal with the intact remains of similar large passenger ships scuttled in deep water in the Ships' Graveyard, such as the Milora and Malaita. The site is subject to waves and surge, and is best dived on flat calm days The teacup originated from the SS Orungal and was likely used heavily in the ship's life as a passenger, mail and cargo carrier around Australia. The teacup is significant for its connections to SS Orungal and of this ships connected story of being sunk in extraordinary circumstances in the local region. A.U.S.N. Co. Ltd. Teacup salvaged from SS Orungal ss orungal, fezara, world war two, barwon heads, ocean grove

Plan of subdivision of part of W.B. Wickings Estate, 1952. Reticulation area 1457, Sewer through private property. Melbourne and Metropolitan Board of Works document.land subdivision, holland road, blackburn south, constance street, gissing street, rosen street, wicking court, melbourne and metropolitan board of works, sewerage and sanitation, wicking, walter benjamin

Brochure advertising 52 lots, Heatherdale Estate, Ringwood (now Mitcham) to be auctioned September 1919. Station Street on the plan is now Victory Street and a Railway Avenue is shown which does not now exist.Brochure advertising 52 lots, Heatherdale Estate, Ringwood (now Mitcham) to be auctioned September 1919.land subdivision, heatherdale estate, whitehorse road, mitcham, melbourne and metropolitan board of works, peers, w.h., coane, j.m., h.e., knight & harwood, godbehear & co, haynes, sydney t, walter street, witt street, victory street, purches, frederick walter

'Land under threat: the future use of public open space adjoining Blackburn Creek' by Blackburn Creek Conservation Group, November 1981. Includes detailed descriptions, plans, bird lists, correspondence.'Land under threat: the future use of public open space adjoining Blackburn Creek' by Blackburn Creek Conservation Group, November 1981.blackburn creek, parks and reserves, kalang park, furness park, environment, blackburn creek conservation group, blacks walk, blackburn creeklands, melbourne and metropolitan board of works, city of nunawading, burgess, graham

An article from the Weekend Magazine of 'The Argus' of 19 June 1948 by Geoffrey Hutton calling for a halt to the unending sprawl of Melbourne's suburbs and the creation of a green belt.Weekend Magazine of 'The Argus' of 19 June 1948 by Geoffrey Hutton land use, howard, ebenezer, melbourne, osborn, f.j., webb, (cr), melbourne and metropolitan board of works, tram services, commonwealth scientific and research organisation, victoria. department of agriculture, railways, state electricity commission

Published to help the war effort and contribute to the defence of the country. Patterns selected in collaboration with the three services-colours and garments by active services in air,on land or at sea.Green-grey light card cover. 32 pages compiled by the Country Womens Association of Victoria sponsored by the Wool Board.J.Tatebooks, handcrafts

Photo of Teams of Horses used for clearing land for the Melbourne and Metropolitan Board of Works reservoir at Mitcham. (Copy of framed Photo see NP842).melbourne and metropolitan board of works, mitcham reservoir

Letter from S. Padgham to Road Board Engineer dated 10 October 1867 re representations by Mr Cook about location of road relating to Mr Cumming's land and Marshall's Gully.marshall's gully, roads and streets, cook, william, cummings, (mr), padgham, silas

Original Specification documents for the erection of a house at 27 Good Governs Street, Mitcham for John Kift in 1960.non-fictionOriginal buisling Specification, land purchase and Board of Works documents for the house at 27 Good Governs Street, Mitcham for John Kift in 1960.good governs street mitcham no 27, kift john

In 1970, the area now known as the Morack Golf Course was rezoned from 'Rural' to 'Public Open Space'. This allowed planning to go ahead and by 1973 sufficient land had been acquired by the Melbourne and Metropolitan Board of Works. The course was first open on 8 May 1976 as a nine-hole course. This was extended to 15 holes by January 1980, and to eighteen holes by 1981.Two coloured photographs a-b of the early days in the development of the Morack Golf Course. Overview of a hole plus white patches indicating where trees have been planted. Some people practicing.morack golf course

At one time pre-service teachers' of the Ballarat Teachers' College boarded at the YMCA. There also used to be an inside pool at the site. Three photographs relating to the YMCA Ballarat building, including the Foundation stone. The land on which this building is erected was given by John W. Wilson one of the pioneer citizens of Ballaratymca, young mens christian association, foundation stone, camp street, ballarat, john w. wilson

The painting belonged to the Wied family who were in Camp 3 Tatura. Artist unknownThree budgerigars, one blue, one yellow, one green sit on a thin branch of a tree with a Major Mitchell Cockatoo to the right of the picture. Another bird is in the air attempting to land on the branch. The sky is blue and the landscape is yellow with a tinge of green. A blue mountain range is on the horizon. Painted on board with a brown wooden frame.major mitchell cockatoo, australian birds, budgerigars, australian landscape

Book with hardcovers, 48 pages titled "Victoria The Land of Enchantment". Sewn in three sections, with a green strip of cloth and self end papers and printed outer paper, sides glued onto board covers. Consists of 43 colour photographs (full and half page) with captions, detailed text, and two black and white photos printed in blue on end covers. Photos of Mt Buffalo, Gippsland lakes, Mornington Beach, Yarra River, Flinders St. station from the Yarra, Collins and Spring St (with two W2's - see image No. 2), Parliament House, Kiewa Hydro scheme, Eildon Weir, Swan Hill Murray River Bridge, Bendigo Post Office, Melbourne Botanical Gardens, Ballarat - Grenville and Sturt St (No. 22 - see image No. 3), Lorne, Yallourn Power Station, Hume Weir, Maroondah Weir, Great Ocean Road, Warrnambool, Portland Beach, A timber train (see image No. 4), Mildura, flax mills, Eastern Geelong and the Prime Ministers Ave, Ballarat. Produced by Nucolorvue Productions, c1950. See also Reg Item 2925 for the same photo of No. 22 and Reg Item 5354 for a postcard. Purchased via eBay site - see attached sheets and packing slip. Purchased 10/2/2005 for A$12.50 including postage, from Virginia Georgopoulos of West Brunswick. eBay sheets and envelope with worksheet file. Has Swains 123 Pitt St, Sydney sticker on bottom left hand corner page 2trams, tramways, ballarat, sturt st, grenville st, bogie trams, geelong, bendigo, melbourne

Three copies of the Annual report of the MMTB for the years end 1980, 1981 and 1982 3953.1 - "Annual Report 1979-80" - white gloss paper with colour card covers with 36 pages, gloss, on inside giving details of the MMTB Board, Officers, Operations report, schedule of debenture, investments, Auditors reports, record of Annual traffic receipts, passengers, miles etc, tram and bus routes operated, statistical information, graphs and photographs. Photos include; Z 117 in Bourke St, Z 31 Burwood terminus, new safety tower wagon, Z118 in Bourke St, W2 528 High St Kew, reconstruction of High St Kew, Z3 120, cable and electric trams at Flemington Bridge, Z3 117, fitting trams to bogies at Preston workshops, Queens Bridge roundabout, MAN bus, Burwood substation, Z111 in Bourke St and Z's enter Elizabeth St service and Z3 129 on rear cover at night. 3953.2 - "Annual Report 1980-81" - white gloss paper with colour card covers with 36 pages, on inside giving details of the MMTB Board, Officers, Operations report, schedule of debenture, investments, Auditors reports, record of Annual traffic receipts, passengers, miles etc, tram and bus routes operated, statistical information, graphs and photographs. Photos include; image of Park St, Domain Road Jtn before changes, Museum station entrance, Flinders and Swanston St, CDB City Ring bus service, Swanston St, Westgate bus route, Park St, new substation, Swanston and Flinders St, Flinders land, and give way to buses pulling out of stops. 3953.2 - "Annual Report 1981-82" - white gloss paper with colour card covers with 36 pages, on inside giving details of the MMTB Board, Officers, Operations report, schedule of debenture, investments, Auditors reports, record of Annual traffic receipts, passengers, miles etc, tram and bus routes operated, statistical information, graphs and photographs. Photos include images of a z class crossing the Maribyrnong bridge, Footscray bus workshops, track renewals, a wedding at Wattle Park, a W2 arriving at Museum Station, Clifton Hill interchange, buses, Z class in Elizabeth St (Nos 158 and 43), Z89 in Mt Alexander Road North Essendon and a W2 loaded on a truck for New Zealand.3951.1 - has Graeme Breydon's address stamp on front cover., 3951.2 - ditto, 3951.3 - ditto and on inside of front cover., 3951.6 - "G. Breydon" in pencil on front cover and pencil comments on balance sheet., 3951.7 - dittotrams, tramways, mmtb, melbourne, annual reports, operations, trackwork

Forty two page book with red covers, titled "The Picturesque Folio of Ballarat - 'The Modern Athens". Sheets have been individually printed both sides, stapled and then glued to the covers. Cover - gives title and printer details First sheet - with a greetings sheet for Good wishes and seasons greetings. Has a printed date of 1905. See Inscriptions. Dated 22/11/1904. Pages 3 - 10 - a historical sketch of Ballarat, compiled by Lieut-Colonel R. W. Williams V.D. Pages 12 - 41 - photos of Ballarat and district - such as: Sturt St The Lakes Post Office - note the trams clock board - taken at corner of Lydiard and Sturt Streets, looking east. The Gardens Queen Victoria Square Lydiard and Sturt St with a horse tram in the photo Victoria Park Eureka Monument The Statues Botanical Gardens Benevolent Asylum Hospital The City Oval - Richards & Co Photograph Fairy Land - the Lake Railway Station with a D class loco waiting for a signal, 3 post home before the level crossing. Has Irwin's Provincial hotel in view. Gong Gong Lake School of Mines and Methodist Church Lake Fountain A Ballarat view - 1853 - 54. View Point Gong Gong reservoir embankment South Star Mine Lal Lal Falls Band & Loch Mine On last page has the logo for the printers - Ballarat Litho & Printing Co, successors to F. W. Niven & Co. 56 and 58 Lydiard St. Ballarat. PDF scan of book added 21/9/2019 as btm3326i.pdfOn first page in black ink " to Chorus? Dodds, from Robert Dodds, and dated 22 Nov 1904.trams, tramways, ballarat, horse trams, sturt st, gardens, railway station, hospital

Large cloth bound ledger, hard board cover, front and back. Over a hundred pages not all numbered. Handwritten. Dates from 1906 - 1922. ledger filled with names, addresses, financial details, and glued in posters of land sales associated with clients. Castlemaine is listed as the area for the ledger and also St Anaud, Maryborough, Avoca, Inglewood, Dunolly, Daylesford, Maldon, Heathcote, Woodend. Scratched on the front cover is a faded reading of 'Castlemaine.' Written onto the spine is written in blue texta, 'Land Sales, C'Maine,' and also '8.6.1906 to 23.2.1922.' land sales, register, castlemaine

Jonathan Harris was born in Sussex England in 1822. His father Jonathan Snr was transported to Australia and his wife obtained permission to follow him as a free settler when Jonathan jnr was about 7 yrs.In 1842, Jonathan snr (who held a ticket of leave) and his son Jonathan Jnr were found guilty of theft and transported to Tasmania. Family history suggests that following his term, Jonathan jnr became a police detective before returning to Victoria. He and his wife had a store at Third White Hill in Bendigo and one day while walking to Eaglehawk, Jonathan found a rich vein of gold in what was to become the Hustlers Mine. He took large samples to England for crushing and subsequently sold his claim. Upon returning to Melbourne he conducted a business before taking up land at Axedale. He farmed here, including the growing of apples up until his death 20/7/1881. His efforts must have been successful as following his death the sale of property at Axedale included two pieces of land that each had two cottages that had been rented out. Jonathan was also on the board of the Axedale School.An 8 page document detailing the life of Axedale man Jonathan Harris.view street, house, goldfield