In 1963 the Shire of Ballarat celebrated its Centenary. This book outlines the history and development of the Shire over the 100 years.Councilor Charles Edward (Ted) Brown was at the time Shire President.The District Roads Board was created on 7th October 1856 and on 24th November 1863 was proclaimed a Shire,thus making it the first Shire in Victoria. The book was compiled by James Mitchell(Shire Secretary) and the staff of the Shire of Ballarat and printed by local printers Waller and Chester.Celebrating 100 years of the Shire of Ballarat.A rectangular shaped book (landscape shape).Pale pink background on which is the title in black and,in shades of deeper pink, a photograph of the new Shire Office building and Clock tower in WendoureePROGRESS IN THE SHIRE OF BALLARAT.district roads board 1856.ballarat shire 1863

This page of photographs is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. First 2 images: milkbar and residence corner Kambrook and Balaclava Roads ie south west corner - building named Airdrie 3rd image: https://vhd.heritagecouncil.vic.gov.au/places/43737 - re 26 Kambrook Road and 345 Balaclava Road corner building ie south east corner: A prominently situated two-storeyed complex of late Victorian buildings consisting of "Wybar's Buildings" occupying the Balaclava Road/ Kambrook Road corner and the "Caulfield Bakery" facing Kambrook Road, separated by a driveway from a single storeyed shop. The main building has a comer splay and balustraded parapet with curved pediments, the words "Wybar's Buildings 1887" having been obliterated but "Caulfield Bakery 1887" with the characteristic wheatsheaf surviving in raised cement work. The walls are stuccoed and richly ornamented with bracketed cornices and keystones with masks extending to the Bakery. The main building is further distinguished by the Masonic symbol of the mason's dividers in the pediment whilst the upper level of the bakery is in overpainted brickwork. The single storeyed shop incorporates the bracketed cornice and consoles characteristic of the main buildings and is in other respects a utilitarian structure. 4th image: https://vhd.heritagecouncil.vic.gov.au/places/42415 (on 24/01/2021) - 196 Kambrook Road An imposing late Victorian poly-chrome brick asymmetrical villa with corner verandah and projecting west facing wing with faceted window bay to the facade. Body bricks are red and relieved by cream and black brick banding and by cream bricks to the bracketed eaves. The fretted barge with king post treatment and timber posted verandah are unique in the Municipality and unusual in the metropolitan area and demonstrate an understated appreciation of the emerging Queen Anne mode.345 Balaclava and 26 Kambrook Roads HO91 - City of Glen Eira https://vhd.heritagecouncil.vic.gov.au/places/43737 (on 24/01/2021) "Wybar's Buildings" at the corner of Balaclava Road and Kambrook Road are important as a prominent late Victorian commercial development incorporating a variety of activities including a bakery and possibly a coffee palace, the latter understood to be unique within the municipality, but characteristic of the period. It is a rare complex of its type in Caulfield and is important also as evocative evidence of the late Victorian Land Boom and the creation of a small now defunct commercial centre at this location by the George Wybrow. 196 Kambrook Road HO122 - City of Glen Eira https://vhd.heritagecouncil.vic.gov.au/places/42415 "Glencoe" is situated at no. 196 Kambrook Road, Caulfield North and was built for the boot manufacturer, Robert Bruce Mair, in 1888. It is of historic and aesthetic significance. It is historically significant (Criterion A) as the home of an inner suburban industrialist, notable a boot manufacturer, demonstrating the attraction of Caulfield as a residential location for the manufacturers of the metropolis during the late Victorian Boom period. It is aesthetically significant (Criterion E) as a very early example of a Queen Anne influenced late Victorian villa, comparing at the State level with ''Woodlands'' (1888), North Essendon, generally acknowledged to be one of Australia's earliest houses to fully exploit this emerging style. The ornamental timberwork is especially expressive of the new architectural fashion and compares with the house at 33 Clarence Street, Elsternwick (1888-89).Page 105 of Photograph Album with two photographs of a milk bar and attached residence, one older photograph of Wybar's Building and another photograph of a house on Kambrook Road (all are landscape).Handwritten: 196 KAMBROOK ROAD / 1970 - GAFFNEY MRS S.M. [under bottom right photo] / 100 [bottom left]trevor hart, kambrook road, victorian style, caulfield north, parapets, wybar's buildings 1887, caulfield bakery 1887, architectural features, painted bricks, balaclava road, george wybrow, shops, milk bars, airdrie, polychrome bricks, verandahs, queen anne architectural style, houses, glencoe, robert mair

a. Envelope containing 1 negative. Negative shows landscape view of Bendigo, with Knipe's Castle in background on RH side. B. Black and white print of negative showing Knipe's Castle.bendigo, buildings, knipe's castle

EIG School - Ralph Birrell Collection. - Construction of Latrobe Uni. C1967. Bendigo Institute of Technology, Engineering School, Applied Science. Bull dozer landscaping the area at LaTrobe University.Kodakeducation, tertiary, latrobe university bendigo, eig school - ralph birrell collection. - construction of latrobe uni. c1967. bendigo institute of technology, engineering school, applied science. bull dozer landscaping latrobe university

Photocopy of horse operating puddling machine on barren denuded landscape with wooden cottages in background. Captioned 'Horse Puddling Machine-1861' [779] number unknown relationship. Unknown donor.bendigo, gold mining, puddling

Robin Boyd travelled to the USA and Britain for several weeks. He attended the opening of the new Australian Chancery in Washington DC, where he had designed an innovative exhibition with cylindrical display cases and sound recordings.Colour slide in a mount. Paley Park, 3 E 53rd Street New York. Early example of a NYC “Pocket Park”. (Architects: Zion Breen Richardson landscape architects.)Made in Australia / 23 / JUL 69M2slide, robin boyd

oil on linen landscape painting. High horizon line. Melbourne cityscape in the distance in cool colours (blues, purples). Varieties of foliage in warm colours (red oranges and yellow) in the foreground. mitchell, oil painting, landscape, melbourne

A landscape submission written for the National Trust of Australia (Victoria) for Blackburn Lake and the Bell Bird Streets. Definitions given of boundaries of the Lake area, ownership, housing and gardens. Photographs and map.A landscape submission written for the National Trust of Australia (Victoria) for Blackburn Lake and the Bell Bird Streets.blackburn lake sanctuary, waratah crescent, blackburn, jeffery street, hill street, boongarry avenue, linum street, laurel grove, acacia avenue, city of nunawading, melbourne and metropolitan board of works, furness park, camberwell grammar school

A colour photocopy of a pastel drawing done by Kurt Winkler, an internee in WW2 at Tatura. The child, Jill Martin, is the youngest daughter of William (Soda) and Elizabeth (Bess) Martin. Done in Tatura September 1941A colour photo copy of an original pastel drawing. Features a young child sitting on the ground with a landscape behind. The picture has been laminated. Mounted in a timber frame with gold trim.Kurt Winkler Tatura 1941kurt winkler, jill martin, william (soda) martin, elizabeth (bess) martin, ww2 camp art

Blue landscape yearbook with a full page photo of Ovens college students. An OC logo is in the top left and along the bottom is an Australian flag, and white text reading GERONIMO 2001Ovens College GERONIMO 190129012001 2001

Blue landscape yearbook with a large cartoon drawing of a class of rowdy students. Along the top in blue writing are the words GERONIMO '96'. In the bottom left corner is a green WSC logoGERONIMO '96' WANGARATTA SECONDARY COLLEGE 1996

Early school bus 4 boys in short pants, 1 in overalls with patterned jumper holding (unidentified), middle boy with cap and buttoned coat has mittens B/W Landscape Group Portrait 8 Children 6 Boyys, 2 Girls ( 4 Boys in uniform 2 with caps) In front of School bus Paddock behind bus Stawell Bus Servicetransport, education, stawell bus service

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

The Budj Bim National Heritage Landscape - Tyrendarra Area on the Australian National Heritage List lies on the Tyrendarra lava flow between the Fitzroy River and Darlot Creek close to the township. The Budj Bim Cultural Landscape was ascribed on the UNESCO World Heritage List on 06 July 2019 (AEST). These photographs were taken during a guided tour with Gunditjmara guide Dennis Rose.Remains of stone shelters built and used by the Gunditj Mirring people.rock shelter, aboriginal, aborigines, tyrendarra, winda mara, rock hut, gunditjmara, unesco world heritage

An eerie, blackened landscape remains after a bushfire ripped through more than 40 ha of the Plenty Gorge parklands.News article 2 pages, black text and colour images.plenty gorge park, bushfire

Photograph of Greensborough showing a rural landscape as the backdrop to a neat fenced garden. Taken from the Godwill home in William Street.Early photograph of rural GreensboroughDigital copy of black and white photograph.greensborough, william street greensborough, ray godwill

Rear view of building overlooking gully. Also shows some of the waste material from the gully as part of landscaping works.Roll of 35mm colour negative film, 7 stripsFuji 1001987, building construction, eltham little theatre, main road, research (vic.)

Ernest W. Barrie supported the establishment of the Willows Historical park and contributed many volunteers hours in the construction and landscaping of the precinct.W.Kittle, Ernest .W Barrie and Jean Arnold at the working beelocal architecture, local identities, local special interest groups, council

This image depicts the intersection of increasing urbanisation and the rural landscape that once made up the area now known as City of Kingston.Black and white photograph of the intersection of Warrigal Road and Centre Road, South Oakleigh, viewed from the reservoir. In the foreground are paddocks and in the background is a shopping strip, including a petrol station.Handwritten in blue ink on reverse: 2196 Handwritten in red ink on reverse: 100%oakleigh, roads, shopping strip, paddocks

Strampp lived and worked at Clifton Pugh's artist colony Dunmoochin from 1980 to 1985. 'Into the Night' is Strampps' "own marriage painting". The wedding dress and horse, "a symbol of virility and passion" represents Strampp and the background landscape was inspired by her stay in Somerset, England. The cliff edge on the left symbolises "an audacious step into the future." The painting "is of a bride, passionate yet absent, about to embark upon a new journey in life, and of the voyage ahead. It is about acknowledging the past, and having the courage to move forward. To take risks". Strampp was largely influenced by both the new German Neo-Expressionists of the time and by English artist John Walker, which is evident in this painting. Her work took on popular stylistic trends and themes of the time, which included a painterly aesthetic and an energetic application of the medium, which transferred to an emotional and or personal connection to subject matter that was communicated symbolically. Strampp is an artist of national significance. This work encompasses themes and a style of painting (Neo - Expressionism) that was prevalent during the time of its making in the eighties. This work represents a transition from Strampp's highly regarded early paintings of heroic horses in the mid to late 1980’s to her highly regarded paintings of contemporary wedding and/or armour-like bodices dresses of the 1990s. Both the 'horse' and 'dress' were often set in empty backgrounds or dreamy/foreboding landscapes. Painted in oil on linen (x2) in a 'Neo-Expressionist' style, 'Into the Night' depicts a ghostly white horse to the right of the painting looking away from a ghostly white wedding dress to the left of the painting. The dress has sprouted white wings and is adorned with bows on the bottom edge of the dress and roses on the sleeves. The dress seems full bodied although there is no figure. The dress and horse are placed in the foreground on a stage like platform with a white curtain framing the picture to the right, and a black ladder and brown cliff edge framing the picture to the left. The background depicts a foreboding and dark cloudy sky and seascape with a firery red landscape burning on the horizon. Signed low right (1988.7b VA) with brush in purple (light) 'Adriane Strampp 87'. into the night, neo expressionism, wedding dress, horse, symbolism, painting, seascape, dramatic, emotional, poetic, strampp

BHS CollectionBlack and white photograph of mining landscape with poppet head, chimney and mining sheds (plus timber in stack) in foreground. Other mines in bare landscape on LHS background and housing on RHS background. Inscriptions: on front - 'The Hustler's Line of Reef from Redan Hill Hustler's Tribute Coy', 'Gt. Extended Hustler;s Claim', 'The Old Hustler's Claim, Gt. Hustlers (Late Latham & Watson's). On back - 'A Richardson, 29 Harrison Street, Bendigo'.mine, gold, hustlers reef mine, bendigo, mines and mining, mine, mines, mining, landscape, mining landscape, redan hill, poppet head, old hustlers, mining cottages

Dudley Charles Seymour Courtney , with a fellow worker, was trapped on the Orbost Raailwaay Station roof until rescued by an army duck. These photographs were his. He worked on the railway in Orbost from 1942 - 1952 approximately. During the 1952 flood nearly half of Orbost rail way station is washed away. The stationmaster and four members of his staff were rescued by police using army ducks.This is a pictorial record of a significant event in the history of Orbost.Nine small black / white photographs of a derailed train at a railway station. Derailed trucks and floodwaters can be seen. The photographs have a narrow white frame. Some are portrait and others landscape.on back of 3082.8 - hand-written in blue pen :"The floods worked the line from under the trucks in a couple of hours"floods-orbost orbost-railway-station rescue courtney-dudley-charles-seymour

large rectangular b/w photograph in landscape format. 11 sailors stand in front of a bus marked "Missions to Seamen". On the side of the bus can be seen the words "The "Flying Angel" Seamen..."hand written inscriptions "Rotterdam" and "Reduce to 3" x 4"". Also reference numbers 5 and 28.mission to seamen, rotterdam, netherlands, van, seafarers, seamen, overseas missions

Named after another ship operating from 1911, RMS Maloja was a passenger liner of the Peninsular and Oriental Steam Navigation Company, operating between 1923 and 1954. In 1924: London/Colombo/Melbourne/Sydney service. During WWII the ship was requisitioned by the Admiralty for service as an Armed Merchant Cruiser.One of two photographs in the collection of a vessel named Maloja, which operated between London and Sydney via Ceylon (Sri Lanka as it later became).small landscape sepia photograph adhered to an album page. Depicts 2 vessels an ocean going 2 stack ship in the distance and a smaller vessel (ferry or coaster) moored against a pier.Hand-written on album page along lower edge in black ink: " PO Maloja"steam ships, world war 2, fan album, ships, piers, port melbourne

2 black and white photographic images mounted onto cardboard, by 2nd year photography student Paul Gerard .1) Landscape .2) Two children, boy and girl sitting on a chairphotography student, paul gerard, black and white photography, portrait photography, landscape photography

Envelope containing one negative. On envelope' looking west to New Chum Hill' Negative shows a landscape image of Bendigo's goldfield, looking west to New Chum Hill. Negative not scanned.bendigo, mining, new chum hill