Historical advertising for 188 Henry Street Greensborough, 2 bedroom house, sold June 1993 for $93,750. Other sales: February 2003 for $205,000. Photograph of house, taken 19/10/2018 by Marilyn SmithHistorical newspaper real estate advertisement (black and white) and colour photographhenry street greensborough

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

Cutters are believed to have been brought home by a soldier with the surname of TIMBS.WWI metal folding wire cutters. Handles & cutters connected by metal rivets.Stamped on handle: "E W Cheesman 1917" Stamped on opposite handle: " [down arrow] D"military equipment - army, cutters, wire, tool

This is a written and pictorial history of The National War Memorial of Victoria, The Shrine of Remembrance. There are 50 photographs and illustrations included in this Magazine to complement the written history.This is an original magazine detailing of the history of The National War Memorial of Victoria, The Shrine of Remembrance.An oblong magazine, thick paper cream colour cover with white pages, The National War Memorial of Victoria, An Interpretative Appreciation of the Shrine of Remembrance. On the front page illustrations from the Shrine of Remembrance Victoria.Set up and Printed in Australia by D W Joynt, Colarts Studios Pty Ltd, Melbourne.national war memorial of victoria, the shrine of remembrance, magazine

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

Used with the Plane Table - Item 4130, in surveying classes at Ballarat School of Mines. Item 4127, Tripod Location Chains, may also have been used.A large tripod of timber construction. Concave top mount flange to receive matching spherical spigot. Spacer block halfway up each twin-strut leg.In white paint on the top "PTI" Manufacturer's stamp on each leg - circular. "W.& L.E. GURLEYtripod, surveying, scientific instrument, ballarat school of mines, plane table, location chains, w & l e gurley

Born: St Petersburg, Russia 1873; Arrived: Sydney, New South Wales, Australia 1887; Lived and worked: England, France, Wales, Egypt, Palestine 1900-1921; Died: Cobbity, New South Wales, Australia 1930EdwardianGift of C.J.R. Ansett, 1980Mountain and valley landscape with figure and animals. Painted timber frame.Recto: Signed and dated "G. W. LAMBERT. 1913" in black paint on l.l.c of composition; Not titledpainting, figure, boy, dog, animal, mountains, landscape, lizard, snow

Alice Cornwall was known as Madam Midas.Alice Cornwell was one of the richest women in the world due to her success in gold mining around Ballarat, Victoria, Australia.Original photograph mounted on original blue/green card.W & S Ltd. Barraud 263 Oxford Street, London & 92 Bold Street, Liverpoolalice cornwall, madame midas, cornwall, mining, ballarat, british australasian mining investment company, midas gold mining company, women

Mrs J.L.Smith and Ada Smith in the backyard of the house Law Muir Den 510 Centre Rd Bentleigh c 1910. . The early settler women usually devoted a whole day to washing as it was very labourious. A fire was lit in a stone pit and a large tub of water boiled. Soap that had been made, usually in the previous Autumn, from fat drippings and caustic soda, was flaked into the tub to form suds. The clothes were moved around in the tub with a long wooden paddle that was also used to lift the clothes out of the tub into another tub of cold rinsing water..Stains were removed by scrubbing soap on the cloth against a scrubbing board. Clothes were wrung by hand or a mechanical wringer and hung on the clothes line to dry. Mary Ann Smith was married John Logan Smith 1860-1932 who at first rented a cottage 'Law Muir Den' & Shed from Mr Box and commenced business as a wood merchant - sawing logs into shorter pieces using one horse to power the saw. He purchased the property, added to the buildings , began trading in fuel and fodder as well and installed a chaff cutting mill powered by 10hp steam engine. The business prospered As Motor transport was increasing 1926 J L Smith built a small Garage on the opposite corner (Woolworths Supermarket 2005) , employed a good mechanic ( Reg Hunt ) and developed another successful business. J.L.Smith was an early settler in East Brighton now Bentleigh and established successful Wood cutting, Grain & Chaff cutting and Motor garage businesses in Centre Road . He was elected Councillor of the Shire of Moorabbin and, with Mary Ann, his family were involved with local Church, Red Cross, and other community organizations.Photograph, Black & White, showing 2 women washing clothes in a large tub, set over a fire in a stone pit, in the back yard. Clothes are hanging from a rope line strung between 2 trees and held up with a wooden 'prop'

Yields information about BTM Member and volunteer worker Bill Kingsley through an obituary.Newspaper clipping from the Obituaries Section of The Age, Melbourne, Thursday August 30, 2012 titled "One-track mind about all transport", William Kingsley, 14.12.1935-3.5.2012, with a photograph of Bill at Ballarat, detailing BTM Member's life written by Roderick Smith. For The Age online version in pdf format, see related documents.obituaries, btm

Postcard - full colour, Divided back type of former Melbourne tram 512 running in Seattle, show destination of Main St, route 99 with the Pier 54 building in the background. At the Madison St stop. The rear has details of the location of the publisher (Smith Western Co. of Tacoma), photographer Charles Van Pelt and where printed - Singapore.trams, tramways, seattle, w2 class, tram 512

Photograph of a watercolour by Eltham artist Bob Smith painted in 1980. The view is from around the rail line looking up Main Street with the Greensborough Hotel centre right. Posted on FaceBook by Dave Wilkes-Johnson, 20.8.2021.Colour digital photograph of paintinggreensborough hotel, main street greensborough

L-R: Mrs Nankervis, Mr Nankervis, Mrs Marjorie Smith Motschall, Mrs Sophie Coffey (stooping). The commemorative plaque explains the functions of the various items used in the Victorian 150th Anniversary Monument and Time capsule.Colour photograph1987, activities, eltham community centre, time capsule

RAILWAYS COLLECTION The Australian Gold Prospector's Handbook by Barclay Smith Publications. Glossy cardboard cover in black, gold and white 1968 edition - small book with 64 pages with several sketches.Barclay Smith Publicationsbook

This book was produced by students of Orbost Secondary College.This publication is a useful reference tool for the history of Orbost.A spiral bound book with 30 pp titled The Curlip Issue No. 2. It has a yellow cover with a black stylised drawing of a paddle wheel behind the P.S. Curlip. Text is black - Issue No. 2 The Curlip Contains stories on Orbost Butter and Produce Co. Transport2188.2 - SLAB HUT COPY in red ink on front cover.orbost-history orbost-butter-factory orbost-transport

224 p., Black and white illustrations.non-fictionThis book is a catalogue of items used in Australian homes from 1880-1940. Includes items as diverse as jewellery to household furnishings and farm equipment.catalogues, household equipment, farm implements

Daughter of David and Martha Medhurst.A member of the Medhurst family, Greensborough pioneersBlack and white studio portrait of young woman in dark dress.In pan on back: Ivy Medhurst, Born 1896-1972, age 76. Daughter of David and Martha Medhurstmedhurst family, ivy medhurst

Photograph of bride and groom 1925. Caption on back identifies the bride as Chrisie Barber and the year 1925. From the collection of Jessie Partington.Sepia studio portrait of bride and groom, mounted on heavy card.Name and address of studio on front of mount. Handwritten caption "Chrisie Barber 1925" on back of mount.chrissie barber, weddings, jessie partington

A group of 2 photographs, children not identified, taken circa 1900. From the Partington collection.Two sepia studio portraits.partington family

Studio portrait of Amy Medhurst taken in 1904The Medhursts were a Greensborough pioneer family.Studio portrait, circular shape, mounted on heavy card.Studio name "The Allan Studio" printed on front of mount. Name of subject handwritten on back of mount.amy medhurst

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

One each carried in an ambulance and used to resuscitate patients. Developed by a Dr Komesaroff this equipment replaced earlier resuscitators. These units took some time to get used to using but were deemed effective in operation. Source Chas Martin AHSV curator 4 April 2016.Oxygen bottle, gauges and carry handle mounted on an aluminium carry board.KOMESAROFF RESUSCITATOR

The Melbourne artist Alma Agnes Marion Figuerola, was the daughter of Juan Pedro Narciso Figuerola (1869-1919) and Alice Lucinda Walker Hanson (1889-1969). Each of their three daughters grew up to be involved in the arts: Alma as a painter; Carmen Irene (1906-1993) as a short story writer, poet and teacher of dancing; and Sylvia (also Silvia) Lyla Alice (1911-1992) as a composer and cellist. The first art lessons Alma Figuerola received were with Oscar Binder. Later she attended the art school established by the Melbourne 'tonalist' [Duncan] Max Meldrum (1875-1955). She graduated from his school in 1920, participating in her first group exhibition in the same year. Solo exhibitions of her work were to be held in 1933 at the Meldrum Gallery in Elizabeth Street, in 1937 and 1945 at the Athenaeum Gallery at 188 Collins Street, and in 1951 at Georges Gallery in Collins Street. Throughout her extensive career she participated in group exhibitions, usually with artists of the Meldrum School, and as a member of the Twenty Melbourne Painters, of which she was invited to become an associate in 1935. In 1953, her portrait of Professor ES Hills was entered in the Archibald Prize Competition of the Art Gallery of New South Wales. A resident of Kew from the 1930s - 51 Studley Park Road, often with her mother, her sister Carmen, or both - from c.1942 until her death she lived at 'D’Estaville', 7 Barry Street. From the late 1930s she is recorded as actively contributing to the arts at a local level. In 1939 and 1940 she participated in art exhibitions at the Hawthorn Municipal Library organised by Jessie Carbines. From 1944 to 1951 she co-organised successive Kew Arts Festivals, initially in the Presbyterian Church Hall in Highbury Grove and later at the Recreation Hall in Wellington Street. A foundation member of the Kew Historical Society in 1958, Alma Figuerola remained an active member of the Society until her death on 8 December 1970. She predeceased her two sisters who both died in the 1990s and who are buried at Andersons' Creek Cemetery in Warrandyte.Studio photograph of Bert, a cousin of the Figuerola sisters. The photo was in the family photo album of the artist. "Cousin Bert age 12 mths"alma figuerola album, arists - kew (vic), artists - meldrum school, occupants - 7 barry street - kew (vic)

Yields information about the view of the City of Ballaarat in 1968 about the possible replacement of tram service.Report or Submission - 6 Gestener printed foolscap sheets, stapled on left hand side and bound with a blue edging tape titled "Submission to Enquiry into Public Transport Facilities in the Ballarat Urban District by A. W. Nicholson, Mayor of Ballaarat Council". Dated 2 April 1968. Submission looks at the possible closure or the future of the tramway system, the SEC involvement, employment, road surface repairs, financial loss to the SEC, reduction in passengers due to car ownership. Council submitted that the tramway system should be retained and extended and that pensioner concessions should be continued. Notes that at the time 69 men on the trams, 18 at the depot and 8 on the track. If replaced by buses, supported a government owned bus provider rather than private. Document scanned - word searchable. pdftrams, tramways, closure, city of ballaarat, bus replacement, public transport, sec, finances

Radio transcript - 8 foolscap sheets, stencil duplicated. Titled - "Wireless Address 3LO by Mr W. Strangward Secretary MMTB 17 June 1926 - Tramway Fares and Tramway Finance" First paragraph refers to previous radio broadcasts by the Chairman, Mr Strickland (track) and Mr Murdoch. Notes that tram fares were raised by 14% last month, fare history, cost of living, the Board's slogan "Service at Cost", wages, cost of new tramways, cost of operations vs fares, the issue of State Government payments to the Infectious Diseases Hospital, Fire Bridges, and Licensing fees and the impact of these imposts, track maintenance costs, relationships with Councils, free travel, workmen fares, free passes to returned soldiers, new routes and bus competition. Two copies held.trams, tramways, radio stations, fares, costs, victorian government, fire brigade, licence fees, buses, track repairs

Photo Album - titled "TAP - Part A - Pre MMTB or W class – sheets A1 to A29 ", from Transit Australia Publishing. Photos used in the Destination City and other publications series. For a detailed list of photographs see htd4600i.pdf. For individual photo images see: \dbtext\hawthtramcoll\photo collections\htd4600-TAP-PartA, images TAP1 to TAP65. TAP01_Malvern Depot-assembling-trams.jpg TAP02_M1_Union Rd. Ascot Vale.jpg TAP03_Myer-Santa-tram_WilliamSt_MMTB.jpg TAP03_Myer-Santa-tram_William St_MMTB-obverse.jpg TAP04_8_Preston WS_Norm Cross.jpg TAP05_22-5_High St-Prahran_1910_CRC Field.jpg TAP06_31-36_High St-Armadale Rose Postcard.jpg TAP07_36_Dandenong Rd_c1917_Duckett Collection.jpg TAP08_Glenferrie Rd. Rose Postcard.jpg TAP09_52_Glenferrie Rd. Rose Postcard.jpg TAP10_53_Glenhuntly Rd_13Nov1913_Duckett Collection.jpg TAP11_93_Balwyn.jpg TAP12_163_Barkly St.jpg TAP13_177_Footscray_25Sep1953_W John Webster.jpg TAP14_177_Radiax Truck_Footscray_25Sep1953_W John Webster.jpg TAP15_181_Footscray_25Sep1953_WJ ohn Webster.jpg TAP16_185_Newmarket.jpg TAP17_197_SouthMelb_RJNowell.jpg TAP18_202_WilliamSt-late1920s.jpg TAP19_204_WilliamSt-late1920s.jpg TAP20_205_BowCollector.jpg TAP21_206_Preston_Mar1948_JackRichardson.jpg TAP22_ZooHorseTRam_TMSV-Postcard.jpg TAP22_ZooHorseTRam_TMSV-Postcard-obverse.jpg TAP23_16_Bendigo.jpg TAP24_456-others_Preston_Jul1947_JackStranger.jpg TAP25_180_WilliamstownRd.jpg TAP26_U_RacecourseRd.jpg TAP27_BoxHill-saloon.jpg TAP28_NMET-9-trailer_MtAlexanderRd.jpg TAP29_16_NicholsonSt-Coburgt_MMTB.jpg TAP30_26_CamberwellDepot_MMTB.jpg TAP32_47_MalvernDepot_MMTB.jpg TAP33_44-18_Bendigo.jpg TAP34_50_.jpg TAP35_60_KewDepot_MMTB.jpg TAP36_83_MalvernDepot_MMTB.jpg TAP37_275-6-93_Preston_RayPearson.jpg TAP38_99_KewDepot_Jan1937_RayPearson.jpg TAP39-122_McCraeSt_NormCross.jpg TAP40_137_HawthornDepot_MMTB.jpg TAP41_138_BourkeSt_20Oct1991_RayMarsh.jpg TAP42_140_PointOrmond.jpg TAP43_141_MalvernDepot_WJohnWebster.jpg TAP44_150_PointOrmond.jpg TAP45B_159_SwanstonSt_KSKings_14Mar1948.jpg TAP45C_159_SwanstonSt_KSKings_14Mar1948.jpg TAP46_171_SouthMelbourneDepot_MMTB.jpg TAP47_174_StGeorgesRd_JohnBeckett_1949.jpg TAP48_177_FootscrayDepot.jpg TAP49_177_FootscrayDepot_WJohnWebster.jpg TAP50_178_PointOrmond.jpg TAP51_178_ElsternwickRS_WJohnWebster.jpg TAP52A_179_LeedsSt-Footscray.jpg TAP52A_179_LeedsSt-Footscray_LCrow.jpg TAP52B_179_LeedsSt-Footscray_LCrow.jpg TAP53_187_SouthMelbourneDepot_MMTB.jpg TAP54_190_CamberwellDepot_GeoffGrant_7May1955.jpg TAP55_191_ElizabethSt-terminus_JohnBeckett.jpg TAP56_192_StKildaSA.jpg TAP57_200_MillerSt.jpg TAP58_205_LygonSt-into-BrunswickRd.jpg TAP59_208_EssendonDepot_MMTB.jpg TAP60_V214_MillerSt_1978_MMTB.jpg TAP61_15_EssendonDepot_MMTB.jpg TAP62_PrinceofWales-decoration_1920.jpg TAP63_EssendonDepot-PowerHouse.jpg TAP64_DoncasterTram_IllustratedAustrlianNews_9Nov1889.jpg TAP65_180_BourkeSt-at-SpencerSt.jpg Transit Australia Photos - Pre W class - sheets A1 to A29 -trams, tramways, transit australia, destination city, tramcars, depots, pmtt, htt, mbctt, nmetl, doncaster, bendigo, tram 1, tram 13, tram 9, 16, tram 8, tram 22, tram 5, tram 31, tram 36, tram 50, tram 63, tram 53, tram 93, tram 163, tram 177, tram 181, tram 185, tram 197, tram 202, tram 204, tram 205, tram 206, tram 84, tram 456, tram 180, tram 9, tram 26, tram 31, tram 36, tram 47, tram 44, tram 60, tram 83, tram 275, tram 93, tram 99, tram 122, tram 137, tram 138, tram 140, tram 141, tram 150, tram 159, tram 171, tram 174, tram 177, tram 178, tram 179, tram 187, tram 190, tram 191, tram 200, tram 205, tram 214, tram 15, tram 180

This catalogue was produced by the South Australian wool auctioning company Elders, Smith & Co. Ltd. It accompanied their celebration of a century of wool sales in 1978. The first wool auction in South Australia took place at Elders a century earlier, on the 15th of October 1878. It was covered in detail by The South Australian Register. At the sale, 1976 bales of wool were offered in what was the beginning of the wool storage and brokerage system in South Australia. Elders, Smith & Co. was established in 1839 by Alexander Lang Elder. Born in 1815 in Scotland, he moved to Australia at age 24 and set up Elders in Port Adelaide. Interestingly, the company’s original site is now the South Australian Maritime Museum. Elders’ business partner was Robert Barr Smith. Also born in Scotland, he moved to Australia in 1854 at the age of 30. Smith was an important part of the Company’s first wool sale. Smith made statements at the auction for South Australia to have a proper wool industry; with a purpose-built wool store, auction house and for the state to be able to supply its own products. This was met with a “Hear, hear” from the crowd at the auction. This statement is reflected upon within the catalogue. The catalogue itself also contains images of the company’s first wool auction, an outside image of Elder’s Wool Warehouse in Port Adelaide as well as an image of the Show Floor inside of this Port Adelaide warehouse. The catalogue also contains a quote from Elders’ Wool Manager for Victoria and Riverina, Murray Jewster. He discusses how the company is proud of its history and looking forward to its future in assisting both wool buyers and sellers. The quote also highlights Elders shift from being an Adelaide focused business, growing to span the width of Australia. 4 page booklet. Yellow paper with black and red print.south australian wool auctioning, elders smith & co. ltd., south australian wool producing, alexander lang elder, robert barr smith