Yields information about Ballarat's tramway system at the point where the tram services to and from Sebastopol often crossed each other and the nature of Albert St itself at the time.Black and White copy photograph taken by The Courier, photo not published of No. 42 and 41 crossing at the Grey St Loop, in Albert St (Sebastopol) crossover, looking south. No. 41 has the destination of Lydiard St Nth, while No. 41 is proceeding to Lydiard St Nth . Presumably photographed 30/9/1969, at the same time as Reg. Item 3753. Shows the Albert St road looking south with a milk bar on the opposite side of the road, two children adjacent to the tram and the nature of the road surface. Collected by Alan Bradley from the Ballarat Courier early 1980's. See Excel file "Record of Ballarat Courier Photos SEC era" (Archive Documents) for source of details.On rear stamped "Copyright, The Ballarat Courier Proprietary Limited."tramways, trams, albert st, sebastopol, grey st loop, tram 42, tram 41

Yields information about the events - incidents that occurred towards the closure of the system - more frequent derailments with bogie trams causing delays to services.Black and White copy photograph of a newspaper photograph taken by The Courier - photo taken 18/8/1971, published 19/8/1971 of No. 40 derailed in lower Sturt St possibly after rounding the corner from Lydiard St Nth. Trams were involved in a special tour, the following bogie tram is being reversed. Has the Town hall in the background. See Reg Item 3765 for the tour photograph. See Reg Items 1073 and 2186 for the actual newspaper cuttings. Collected by Alan Bradley from the Ballarat Courier early 1980's. See Excel file "Record of Ballarat Courier Photos SEC era" (Archive Documents) for source of details.tramways, trams, sturt st, tours, derailments, tram 40

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Small Wheel Lorry replicates the vehicle that enjoyed respect from the public during the 1880's and early 1900's. A model of a Small Wheel Lorry with a long four spoked wheeled wooden flay tray drawn by a brown horse. The wooden shafts are to control the horse whilst working. It has a grey wooden ice box with a metal lid with ICE painted in black letters inside a black lined outline on the side. On the side of they lorry or dray is painted WOOD - COAL - COKE - C. MEE LA1271 in black paint. These are long strong carts or drays without fixed sides for carrying heavy loads. They were the truck of the horse drawn era, from the large wool bale lorry to the suburban ice and wood lorry. It has been said they had their origins in the German farm wagon.ICE is painted in black capital letters on the side of the ice box. On the side of the lorry is painted - WOOD - COAL - COKE - C. MEE LA1271replicas, models, scale models, vehicles, horse drawn vehicles, toy horses, drays, carts

Fold out map (10 sections), coloured of Melbourne's Tram and Bus routes, route numbers, rail lines, municipalities boundaries and location of major places of interest. Titled - "Map and timetable of Melbourne Tram and Bus Services" - May 1952". At base of map - timetable of all night trams and bus services. On rear index to routes, 1st and last services, time of Sunday am services, Latrobe St. services and photo of Wattle Park. Dated March 1952 - Bourke St shown as bus. See Reg Item 413 for the May 1956 version. Very high resolution scans held. See also Reg Item 3720 for a MMTB Map of the same era.trams, tramways, melbourne, map, tram & bus services, all night services, mmtb

Ron Setford and his wife Grace Setford lived in Tanner Avenue, East Kew, from c.1946 to c.1995. A keen photographer, he recorded the changing face of Kew over a 20 year period. Apart from 30 photographs of built structures and places in Kew dating from 1960 and 1961, 145 of his 35mm colour slides chronicle the development of the Eastern Freeway through the Yarra Valley over a five year period from c.1972 to c.1977. This important collection was donated to the Society by his granddaughter in 2025.This collection of 175 35mm slides is of local and statewide significance, owing to its subject matter, particularly the major development of road transport infrastructure during the 1970s with the construction of the Eastern Freeway. The photographer also took care to annotate and date most of his slides which enable the researcher to pinpoint temporal and spatial locations.The Kew City Hall in Cotham Road, designed by Harold Bartlett, was intended as the initial phase in a scheme to develop an entire civic precinct. This was representative of a widely-held belief, of the immediate post-war era, that a district's civic centre should be precisely that – not just a single grand building for official use, but a dedicated precinct providing a range of community facilities as well as an administrative function. The Kew masterplan was later abandoned. The City Hall was designed to cater for public or official functions. Its interior had a small stage at one end for intimate theatrical productions, a larger stage at the other (with sunken orchestra pit) for musical performances, plus the most up-to-date equipment for live TV transmission."Kew Town Hall"ron setford, photographs -- kew (vic.) -- 1960s, kew town hall

Ron Setford and his wife Grace Setford lived in Tanner Avenue, East Kew, from c.1946 to c.1995. A keen photographer, he recorded the changing face of Kew over a 20 year period. Apart from 30 photographs of built structures and places in Kew dating from 1960 and 1961, 145 of his 35mm colour slides chronicle the development of the Eastern Freeway through the Yarra Valley over a five year period from c.1972 to c.1977. This important collection was donated to the Society by his granddaughter in 2025.This collection of 175 35mm slides is of local and statewide significance, owing to its subject matter, particularly the major development of road transport infrastructure during the 1970s with the construction of the Eastern Freeway. The photographer also took care to annotate and date most of his slides which enable the researcher to pinpoint temporal and spatial locations.The Kew City Hall in Cotham Road, designed by Harold Bartlett, was intended as the initial phase in a scheme to develop an entire civic precinct. This was representative of a widely-held belief, of the immediate post-war era, that a district's civic centre should be precisely that – not just a single grand building for official use, but a dedicated precinct providing a range of community facilities as well as an administrative function. The Kew masterplan was later abandoned. The City Hall was designed to cater for public or official functions. Its interior had a small stage at one end for intimate theatrical productions, a larger stage at the other (with sunken orchestra pit) for musical performances, plus the most up-to-date equipment for live TV transmission.Nilron setford, photographs -- kew (vic.) -- 1960s, kew town hall

Ron Setford and his wife Grace Setford lived in Tanner Avenue, East Kew, from c.1946 to c.1995. A keen photographer, he recorded the changing face of Kew over a 20 year period. Apart from 30 photographs of built structures and places in Kew dating from 1960 and 1961, 145 of his 35mm colour slides chronicle the development of the Eastern Freeway through the Yarra Valley over a five year period from c.1972 to c.1977. This important collection was donated to the Society by his granddaughter in 2025.This collection of 175 35mm slides is of local and statewide significance, owing to its subject matter, particularly the major development of road transport infrastructure during the 1970s with the construction of the Eastern Freeway. The photographer also took care to annotate and date most of his slides which enable the researcher to pinpoint temporal and spatial locations.The Kew City Hall in Cotham Road, designed by Harold Bartlett, was intended as the initial phase in a scheme to develop an entire civic precinct. This was representative of a widely-held belief, of the immediate post-war era, that a district's civic centre should be precisely that – not just a single grand building for official use, but a dedicated precinct providing a range of community facilities as well as an administrative function. The Kew masterplan was later abandoned. The City Hall was designed to cater for public or official functions. Its interior had a small stage at one end for intimate theatrical productions, a larger stage at the other (with sunken orchestra pit) for musical performances, plus the most up-to-date equipment for live TV transmission.Nilron setford, photographs -- kew (vic.) -- 1960s, kew town hall

Ron Setford and his wife Grace Setford lived in Tanner Avenue, East Kew, from c.1946 to c.1995. A keen photographer, he recorded the changing face of Kew over a 20 year period. Apart from 30 photographs of built structures and places in Kew dating from 1960 and 1961, 145 of his 35mm colour slides chronicle the development of the Eastern Freeway through the Yarra Valley over a five year period from c.1972 to c.1977. This important collection was donated to the Society by his granddaughter in 2025.This collection of 175 35mm slides is of local and statewide significance, owing to its subject matter, particularly the major development of road transport infrastructure during the 1970s with the construction of the Eastern Freeway. The photographer also took care to annotate and date most of his slides which enable the researcher to pinpoint temporal and spatial locations.The Kew City Hall in Cotham Road, designed by Harold Bartlett, was intended as the initial phase in a scheme to develop an entire civic precinct. This was representative of a widely-held belief, of the immediate post-war era, that a district's civic centre should be precisely that – not just a single grand building for official use, but a dedicated precinct providing a range of community facilities as well as an administrative function. The Kew masterplan was later abandoned. The City Hall was designed to cater for public or official functions. Its interior had a small stage at one end for intimate theatrical productions, a larger stage at the other (with sunken orchestra pit) for musical performances, plus the most up-to-date equipment for live TV transmission.Nilron setford, photographs -- kew (vic.) -- 1960s

Proclamation card presented to I. C. McLean and signed by all other crew members on board the RMS Remuera. The crew left Australia to join HMAS Perth and formed part of Australia's first war contingent for active service in WWII. The document is dated 15th October 1939.This document is significant as a tangible link to a former crew aboard the RMS Remuera. The card also notes that this crew formed part of Australia's first war contingent for active service for WWII. A number of servicemen who signed this card did not return from service. It represents the vital role of these men had in defending Australia. It also represents a tradition of Crossing the Line in RAN culture and has social value.Proclamation card presented to I. C. McLean and signed by all other crew members on board the RMS Remuera. The crew left Australia to join HMAS Perth and formed part of Australia's first war contingent for active service in WWII. The document is dated 15th October 1939.Hereunder are names of men who left Australia to join HMAS Perth on West Indies Station, forming Australia's first war contingent for active service. Mason, F. ... Henry (Printer), M. M. S.... (Printer's Devil), A.G.H. Foley A.B., L. H. Hughes E.R.A, M.G. Packer E.R.A, G.J. McKenzie, W.R. Birbich, R.A.A Shaw, R.de M. Baker O.D; J.N Taylor Ord Serv; R.W. Wilkinson ....; G.E Jones O.D; G.F. Bli... Ord Sea; E.E. Bird Ord Sea; V.L. Watson A.B; A.W. Newman; A.W. Graham O.D; L.P. Woolbrough; G.G. Kummins; H.W. Durham Sto II; R. McBryde Sto II; M. Gordon A.B.; F. Milner O.D; N.D. Coleman O.D; F. Norris ERA; M.J. O'Brien; E.R. Phillps Stok II; D.J. McPherson S.A; ....Liddell; L.E. Head A.B.; V.B. McGovern ERA; N. Leitch L/Sea; K.G. Stockbridge A.B.; F.W. Robinson (Master); C.H.G. John "Speed" Sto II; C.E. Ingram A.B. 64; E.V.W. Pockley Surg Lt RANR; George Christie A.B.; I.C. McLean.rms remuera, i.c. mclean, hmas perth, geelong naval and maritime museum, wwii, crossing the line wwii

This childhood sketchbook of the 1918 era details the emphasis placed upon a skill of brushwork that portrayed part of the students natural environment both in Tasmanian schools and Victorian schools, especially rural schools. The close bondage between students and their environment was a reflection on the early "hands on" approach in child education. Abstract art or teaching aids which could not be identified with physical properties available to students at this period in time were of lesser value. The ability of the student to identify the artistic value of local nature eg. local plants and flowers was especial important to rural based school children who had limited excursion opportunities available to visit town/city based botanical gardens and museums. This brushwork book is very significant to the Kiewa Valley as it demonstrates that childhood relocations from one State to another were not detrimental to the students overall scholastic development. The rural environment in Tasmania was not that far removed from the rural environment of the Kiewa Valley. The skills taught in both regions were still the same and the socio-economic factors and mores were also similar. This item demonstrates the relocation of one family from Tasmania to the Kiewa Valley. The expansion in population into the Kiewa valley was quite erratic and significant population growth only came after the increase in population brought into the area by the SEC Vic Hydro Scheme introduced to quench the demand for Victoria's electricity.This book has a brown cover with black print and designs on a 150 gsm cardboard. Each page is of the same thickness as the cover but is of paper.On the outside cover and contained within a thick boarder. "EDUCATION DEPARTMENT" and below this in smaller print "TASMANIA" below this "THE TASMANIAN BRUSHWORK BOOK". Below this "FOR CLASSES IV., V., AND VI" Below this "NAME" SCHOOL" At the bottom 2 1/2d1918's educational sketchbook, 1918 children's sketchbook

This item is a cheap Penny Whistle made in Thailand Circa 1955. The item was one of the first wave of imports from the growing Asian steel producers. This was an era where cheaper Asia based steel companies did not compete against the stronger, and well established Australian ones. This Penny Whistle was "roughly" made and possibly purchased by the Victorian Education Department for use in school bands and music classes. Schools within the Kiewa Valley would have used them to integrate students the fundamentals of reading music and playing basic musical scores. Later conversion from steel to plastics would have been more conducive to multiple users in a classroom environment (more hygienic and rust proof.This item shows how the "cheaper" invasion of all types of manufactured goods from the Asian regions have altered the purchasing patterns of rural Australians(the more traditional consumer). The cost imbalance of purchasing from "The Mother Country (England)" or European supply versus the Asian manufacturers was due to not only the financial pressures post World War II but also in the elimination of Tariff restrictions placed on non favoured suppliers.This tin Penny Whistle is made from rolled tin(steel), cylindrical in shape, with a wooden Fipple plug at the mouth end and six note holes starting half way down the front side evenly spaced and ending 35mm from the bottom. This whistle is in the key of D"G steel & Co. D"music, wind instruments, whistle, celtic music

Candles were the main source of lighting during the Colonial era. The candles were made at home from tallow, or animal fat, which was readily available and inexpensive. The tallow was soft, often had an unpleasant smell, band burned with a low, quickly fading light. Beeswax candles could be bought ready-made and lasted longer when lit. Bayberry wax could also be made into candles but was the process was labour intensive and time consuming. Spermaceti was from whale oil, a growing industry in the late 1800's, made firmer candles. Around this time wooden candle moulds were invented and uniform size and shape candles could be produced using the spermaceti wax. The candle mould is significant in the evolution of household lighting. It was an asset to the 19th century homemakers, allowing the production of their own candles in a uniform size. Candlelight allowed for the extension of time available for duties.Candle mould of tinplate for one dozen (12) candles. The tubular moulds stand upright, three rows of four, in a fitted tray. Another concave tray fits over the top ends of the moulds and has a hole above each of the candles, which is used for filling the moulds with melted wax. Ends have wire-reinforced edges.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, candle mould, candle making, lighting, candles, tallow, beeswax, bayberry wax, spermaceti was, whale oil, candlelight

An example of good invention in an era of innovation in Australian manufacture and production. Levers raise the height of the cutter, disengaging the drive from the blades. The moveable blades under the fixed ‘fingers’. An eccentric rod changes circular motion to linear back and forth of the blades. Such a machine is now known as a mower for cutting grass for hay, and other grasses for storing as sheaves. 'Gift for Museum - The School of Mnes committee has accepted the offer from mr H.B. Munro, of Elsternwick, of a model reaping machine made in 1887 when the Munro machinery business was in operation in Alfredton. The model, which has won gold medals at various exhibitions, is to be placed in thr school museum. (Ballarat Courier 22 April 1932) Metal model with red paint detail in sectionsM263ballarat school of mines, ballarat school of mines museum, munro machinery, model, munro reaper

The iconic bush surrounds of Lake Daylesford are now home to a new permanent artwork titled Cottage, by artist Jason Waterhouse. The artwork has been months in the making, thousands of S-shaped pieces have been hand crafted from three kilometres of wrought iron, then joined together to form a scaled-down miners cottage. ‘Cottage’ is a highly decorative wrought iron sculpture inspired by the gates at the Convent in Daylesford, “ said Waterhouse. “This work references the rich opulence of the Victorian gold rush and pre-war spa resort era in its patterning. In its form ‘cottage’ pays homage to the miners, workers and farmers on whose backs the riches of Daylesford were built.” Cottage is the first in a series of significant public artworks to be commissioned by Hepburn Shire Council. Cottage will enhance one of Victoria’s premier tourist destinations, Lake Daylesford. Large scale wrought iron public sculpture referencing the worker's cottage of the Goldrush period in Daylesford. 203cm (height) x 382cm (width) x 353cm (depth) verandah 159.5cm (height) wrought iron 32mm x 2.5mmpublic art, sculpture, jason waterhouse, stockroom, daylesford, hepburn shire, daylesford lake, cottage, site-specific art, art, wrought iron, hepburn, hepburn shire public art collection

"The Uniting Church and former church hall are historically significant at a Local level (AHC A4). It was built after Melton’s ‘United’ church and school, erected by Protestant denominations in 1857 in an effort to share resources in the pioneering era, was replaced by individual churches in the 1860s. The church became the home of and is expressive of the union of the Methodist and Presbyterian churches, begun in Melton from the early 1970s, and formally concluded by the formation of the Uniting Church of Australia in 1977. The new additions and functions of the church are expressive of the increase in Melton’s population especially in the 1970s, and the changing nature of the parish’s ministry. The church is one of only three remaining nineteenth century churches, and one of only two remaining bluestone churches, in the Shire of Melton".Dinner celebrating 150 years of the churchchurches

Sponsored by Alfred M. Nicholas the Deco era Mission building facing Beach street built by Architect Harry Norris opened in 1937. The building was then in WW2 requisitioned with the Mission returning to full use of the complex some years after the War ended. The building in later years was relinquished due to decreasing shipping at Port Melbourne and need to consolidate seafarers services in the Central Mission at 717 Flinders St. The building was used as an art centre just prior to demolition in the 1990s. The Port Melbourne Historical and Preservation Society was instrumental in ensuring the the old foundation stone was preserved in the sea wall opposite the original site. A single brick from the building is also part of the MtSV Heritage Collection. This stone is one of the few items remaining from this building demolished in 1995.Photograph depicting the foundation stone laid on the 18 May 1937 for the new Mission in Port Melbourne.TO THE GLORY OF GOD/AND THE WELFARE OF ALL SEAFARERS / THIS FOUNDATION STONE WAS LAID BY / HIS EXCELLENCY THE GOVERNOR OF VICTORIA / THE LORD HUNTINGFIELD K.C.M.G. / MAY 18th 1937 / THIS BRANCH INSTITUTE OF / THE VICTORIA MISSIONS TO SEAMEN / WAS ERECTED THROUGH THE GENEROSITY OF / ALFRED M.NICHOLAS ESQ. / OFFICE OF HARRY A.NORRIS ARCHITECTSfoundation stone, lord huntingfield, port melbourne, beach street, art deco, brick, harry a. norris, alfred m. nicholas, maurice nicholas

Various Victorian Newspaper covering start of WW2 and end of WW2 and one covering ANZAC Day in 1927.Faded newspapers on yellowed paper with black writing. 1. The Morning Post April 26th 1927 with articles relating to ANZAC Day. Broadsheet format and 10 pages content. 2. The Sun, Wed Aug 20th 1939 covering era up to the Declaration of War in Europe. Tabloid format in 42 pages. 3. The Sun, Sat Sept 2, 1939 covering lead up to Declaration of War on 2nd Sept, 1939. Tabloid format in 48 pages. 4. & 5. Bendigo Advertiser, Thur Aug 16, 1945 re end of WW2 with Japanese Surrender. Broadsheet format with 16 pages. 6. The Herald, Wed Mar 21st, covering key battles of both theatres of WW2. Broadsheet format with 12 pages.bendigo advertiser, the sun, morning post, newspapers, ww2

Six page typed document, signed by Albert Richardson, and a handwritten copy of same. Written on top right of typed document: 'These recommendations all adopted by General Meeting Bendigo and District Tourist Association, 30.11.1967' Document describes the 'Central Nell Gwynne area, situated at West Bendigo, approximately 150 yards north of main Calder Highway to Mildura, local section Marong Road, which is a public purposes reserve under Section 14 of the Land's Act 1958. The steel poppet legs donated by the late Jack Barker to the City Council for preservation be a permanent reminder of the gold mining era and containing the engine beds and 20 head crushing battery foundation, be developed as a mining museum for tourists, educational and historical purposes'bendigo, mining, central nell gwynne

COLLECTION OF PHOTOGRAPHS. Comprises 8 B&W photos of individuals or groups (various era) with no names provided; 4 colour photographs of people (couples) with no names provided; 2 B&W photographs with name identification on back - Russell January 1942; Russell & Audrey with Bridesmaids & Best Man Shirley's husband - Best Man Jack's daughter - small bridesmaid on left; one B&W? ( Polaroid) photograph of building - on reverse - Campbell Connelly, Bendigo (cnr. Forest St and High St). This photo shows the current building (2015 Chinese restaurant) with adjoining builiding in Forest St having Taubman's advertisement and corner building having a sign pointing up Forest St to the City Centre Motel.

Yields information about the seemingly frequent derailment of bogie trams at this intersection and the people who travelled on the tram and alternative means of transport - walking. Also details information about the streetscape, clothing, and buildings.Black and White copy photograph of a newspaper photograph taken by The Courier - No. 40 derailed, Bridge & Main Sts corner, 1964. Photo taken 1/07/1964, published 2/07/1964 No. 40 bound for Mt Pleasant. Location Stones Corner. Has buildings in Bridge St in the background and part of Stones sign. Photo shows many people, passengers, from the single truck tram behind No. 40, walking up Bakery Hill towards Victoria St West. Ladies, Gents, shoppers, passengers, school children etc. Collected by Alan Bradley from the Ballarat Courier early 1980's. See Excel file "Record of Ballarat Courier Photos SEC era" (Archive Documents) for source of details.On rear stamped "Copyright, The Ballarat Courier Proprietary Limited."tramways, trams, stones corner, bridge st, derailments, accidents, passengers, tram 40

Newspaper clipping from The Courier, 20/3/1963, titled "Bluebirds cause keen excitement in the city", recording the passing of the convoy of Donald Campbell's Bluebird car and speedboat through Ballarat and stopping outside the Town Hall. Photo has tramcar 14 and a bogie tram in the background. Donald Campbell himself was unable to attend. Bluebird was one the motor vehicle used in the land world speed record attempts of the era. Show many people milling around the truck carrying the trailer, barricades. People had blocked Sturt St at this point. See Reg Item 3734 for a print of the photograph. Contained originally within Reg Item 5507 at the back of the binder. For items see btm5507 loose items list.pdf bluebird, sturt st

Set of two Newspaper clippings about the public transport and political and financial issues, both The Age 14/6/1992 .1 - Front page of The Sunday Age, "If you drink and drive, you're a bloody tram driver", written by Tony Parkinson, with a photo by Wayne Ludbey of a driver with a stubbie in hand at the Albert Park terminus. Item about this and the financial performance of the system and the operational aspect of crew management. .2 - "Taking Victoria for a ride"- Tony Parkinson - looking at the performance of the Labor Government in addressing Victorian public transport operations and costs, including the railways, unions, the Premier John Cain, Transport Ministers Steve Crabb, Tom Roper, Jim Kennan and Peter Spyker's attempts and problems of the era. PTC, costs.trams, tramways, operations, transport, public transport, unions, finances, redundancies, transport minister

Although the exact creation of this pocket watch is unknown, the pocket watch was first invented in 1510, in Nuremberg, Germany. The inception of this invention can be attributed to Peter Henlein, a master locksmith who continued producing timepieces until the 16th century when their manufacturing expanded to other parts of Europe. During the 15th century, pocket watches served as a means of distinguishing between the lower classes and the affluent members of society since only the wealthy could afford them. In this era, an early version of the pocket watch was typically worn around the neck, as opposed to being attached to a pocket watch chain like the Albert T Bar chain. Furthermore, the increasing use of the railways during the latter part of the 1800s significantly accelerated the popularity of pocket watches.This pocket watch is significant as they relate to the social history within the Burke Museum's collection playing a vital role in narrating the history of Beechworth, demonstrating the past of the town through insights into its social, cultural, and economic dimensions.A silver pocketwatch with a leather strap attached at the clasp.A01153clock, pocketwatch, timepiece, burke museum

This photograph depicts Camp st in Beechworth looking east. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and white rectangular photograph (copy) printed on gloss photographic paper. Obverse: The Rose Series P.3469 Copyright FORD STREET Reverse: BMM7744 PH150 1998.00059 beechworth, ford street, rose series, photograph, post card, black and white

This copy of a postcard depicts Ford Street in Beechworth looking North. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and white photograph (copy) on gloss photographic paper. Obverse: THE ROSE SERIES P.3481 COPYRIGHT FORD STREET, LOOKING NORTH, BEECHWORTH, VIC Reverse: BMM7743 PH 149 1998.00059beechworth, ford street, rose series, postcard, photograph, black and white, burke museum

This copy of a postcard from the Rose series depicts Camp Street looking East. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and white photograph (copy) on gloss photographic paper.Obverse: THE ROSE SERIES P.3459 COPYRIGHT CAMP STREET, LOOKING EAST, BEECHWORTH, VIC Reverse: BMM7743 PH 149 1998.00059beechworth, rose series, camp street, burke museum, black and white

This copy of a postcard from the Rose series depicts Ford Street looking South. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life.Black and White photograph (copy) on gloss photographic paper. Obverse: THE ROSE SERIES P.10544 COPYRIGHT FORD STREET, BEECHWORTH, VIC Reverse: BMM7746 PH 147 1998.00059beechworth, rose series, ford street, burke museum, postcard

Taken in Beechworth, this photograph depicts Ford Street looking North. This postcard is part of the Rose Series produced by Victorian photographer George Rose’s business, the Rose Stereograph Company. George Rose (1861-1942), is considered one of Australia's best photographers of the late 19th and early 20th centuries. The Rose Stereograph Company was founded in 1880 and became famous for producing stereographs, or stereoviews, which gave the illusion of being in 3D when seen through a hand-held viewer, a big craze of the era. As stereographs lost popularity in the 1920s, Rose switched to production of postcards and decorative cards, and he and the photographers who followed took thousands of scenes around Victoria as well as interstate that became iconic images of Australian life. Black and White photograph on gloss photographic paper. Obverse: THE ROSE SERIES P.2749 COPYRIGHT FORD STREET, LOOKING NORTH, BEECHWORTH, VIC Reverse: 7739 PH 152 1998.00059beechworth, rose series, ford street, george rose, burke museum

The c1920 brick shop and side dwelling is one of just three early 20th century shop buildings left in Eltham and one of just two that have intact facades. These shops are physical links with the country village of Eltham at that time and their siting in isolated locations along the street reflects that village era. Since the 1950s Eltham's main street has changed dramatically and the intact pre 1940 buildings such as this shop are key components of the section of Main Road south of Henry Street which still has a streetscape recognisable from that earlier time. The side dwelling illustrates the common practice of that time for shopkeepers to live at their premises. In the 1990s this was an antique Shop and in 2010 “Eltham Cycles”. It is now a popular eatery – Zen Den. 35mm colour positive transparency (1 of 23) Mount - Kodak EktachromeProcess Date MAY 88Meltham, main road, antiques and old wares, cafe zen den, restaurants, second hand dealer, second life decor pty ltd, shops