Apart from this programme, not much is known about this theatre company. A solitary article in the Melbourne Advocate in 1949 identifies the group as connected with St Anthony's Parish (Glenhuntly). The Marion Tilley scrapbook is a significant record of performing arts in Melbourne during the 1950s and 1960s. The scrapbook includes programmes, photographs, newspaper reports and personal annotations which are a rich source of detail about repertoire, performers, and artistic sensibility in the period.Souvenir programme issued by the Paduan Opera Company for a performance of Sigmund Romberg's operetta The Desert Song. paduan opera company, the desert song (romberg), performing arts (kew), theatre (kew)

The Henty family and their descendants were notable settlers in Australia, initially in Western Australia, then in Launceston and finally in Victoria. While most family members settled in Victoria from 1834, others remained in England and in Tasmania. The portrait was purchased by the Society as part of a small collection of Henty memorabilia and portraits from the owner of Moorabool Antiques, Geelong in 2021, which had in turn acquired the item from the estate of Dennis Alston of Alston's Antiques in Hamilton, Victoria.Members of the extended Henty family were notable British settlers of southeastern and southwestern Australia. The connection to Kew (Vic.) is that members of the Henty family owned important mansions in Kew in the 19th century. Stephen George Henty's family lived at 'Findon', and Francis Henty of 'Merino Downs' in the Western District lived in his final years at 'Field Place', Kew. Alice (Henty) Hindson, born in Portland in 1852, died at 'Field Place' in Kew in 1932. She was the daughter of Francis Henty. The portrait has added artistic and aesthetic significance as a signed photographic portrait by Lafayette Photographic Studios, Collins Street, Melbourne. The studio flourished from 1906-1930. Photographic portrait of Alice (Henty) Hindson (1852-1932), one of the daughters of Francis Henty and Mary Ann Lawrence, taken and signed by the internationally renowned London photographer 'Lafayette'. The oval photograph is encased in a brown calf skin case. The portrait represents the sitter in middle age, wearing a black dress and a white lace collar. Alice Henty had married John Hindson in 1875 at Trinity Church, East Melbourne. The couple were to live at 'Shrublands' in Canterbury from 1883. Her husband died in 1919 and it is likely that the portrait was taken after that date. She was to donate 'Shrublands' to the Anglican Church in 1923, after which it became St John's Home for Boys (and girls). Alice Henty's sister Louisa Henty died at her home 'Field Place in 1924. Alice was also to die at Field Place in 1932. Signed: "Lafayette / Melb."henty family, alice henty, alice hindson, shrublands, field place, john hindson, francis henty, louisa henty, mary ann lawrence, mary ann henty, lafayette photographic studio -- mebourne (vic.)

The correspondent of The Argus recorded that: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. ... To-day the Heir to the Throne will review some 15,000 Australian troops at Flemington. ... It is a function which, on a lesser scale, might have been arranged at any time for many years past; but it could never previously have conveyed the meaning it does now. Soldiering was popularly regarded as a pastime here until South Africa tried the mettle of our men. It is serious business from henceforth. Those who followed the nascent aspirations of the volunteer soldiery in Australia must be impressed at the rapidity of their fulfillment. ... The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items owned and displayed at 'Fairyland' by Mrs Grace Tabulo, and a rare survivor of that collection.An invitation, mounted on card to the Royal Review held at Flemington racecourse on Friday 10 May 1901, as part of the Government of Victoria's Australian Commonwealth Celebrations. The border is vividly decorated with flags, shields and a large coat of arms. The photographic images depict various scenes of Flemington in Melbourne, in addition to two separate portraits of the Duke and Duchess of Cornwall and York. Illustrations of military servicemen on foot and horseback flank the central block of text. The invitation was part of the 'Fairyland Collection assembled by Jim and Grace Tabulo. The name on the certificate was expunged.Printed: AUSTRALIAN COMMONWEALTH CELEBRATIONS/ The Government of Victoria/ requests the honour of the presence of/ [name deleted] / AT THE/ ROYAL REVIEW/ at Flemington on Friday/ the 10th of May 1901. Reverse: Mrs G. Tabulo, 57 Malmsbury St.federation events, royal review - 1901, federation -- invitations, grace tabulo -- fairyland -- 57 malmsbury street -- kew (vic.)

The correspondent of the Argus on 10 May 1901 wrote: "The Parliament of the Commonwealth was opened yesterday by the Duke, of Cornwall and York, under a Commission signed by Queen Victoria and subsequently endorsed by King Edward VII. The ceremony was marked by the splendour and solemn impressiveness which befitted its historic importance. An immense assemblage of spectators, drawn mainly, of course, from this state, but in part also from each of the other federated states, and including representatives of other portions of the British Empire and of foreign powers, thronged the spacious, stately, and joyously decorated edifice. The picture was magnificent. It must have printed itself indelibly on the sensitive minds of the thousands of Australians who were privileged to behold it. We may assume that artists will reproduce it in worthy and imperishable forms, and that from generation to generation it will be familiar in the households of the Commonwealth. Our children's children, we may gladly say to-day, will not be ashamed of the function which inaugurated the self-governing rights of the southern British Nation. Nothing was omitted which could add to the grandeur and significance of the occasion. In a broad sense the proceedings were perfectly intelligible to the vast and sympathetic gathering, though the natural limits of a single human voice had to be accepted. The King's son, with his consort and the Governor-General and Lady Hopetoun by his side, and supported by the Governors of the states and other eminent personages, fulfilled his doubly-attested Commission with a simple dignity and a modest manliness altogether admirable. The ceremony was a brilliant spectacle, and, in its sentiment and suggestiveness, an inspiration to a loyal and patriotic people."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items owned by Mrs Grace Tabulo, and displayed at her home - Fairyland - at 57 Malmsbury Street, KewAn invitation, mounted on card to an evening reception at the Exhibition Building, Melbourne, on 9 May 1901, to meet the Duke and Duchess of Cornwall as part of the celebrations of the opening of the first Federal Parliament. A figure of Britannia, in red dress and mailed vest holding a shield like the Union Jack, is on the left of the invitation; she reaches out her hand towards a younger female figure, representing Australia, who is dressed in blue and holds a shield which is white with a blue cross decorated with stars. The writing is on a scroll in the centre of the certificate, and there is a border of vines and vine leaves. The royal crest is at the base of the certificate. Front, printed. gold ink: "His Majesty's Ministers of State for the Commonwealth of Australia request the honour of the presence of / ****l (handwritten) / In the Exhibition Building, Melbourne, on Thursday, 9th May, 1901, to witness / the Opening of the Parliament of the Commonwealth. / Edmund Barton / Prime Minister." Front, bottom left, printed: "The Young Queen / Her hand was still on her sword hilt - the spur was still on her heel ... (and further text) KIPLING'S COMMONWEALTH ODE." Reverse: Mrs G. Tabulo, 57 Malmsbury Streetaustralia -- federation -- 1901, invitations, parliament -- opening -- 1901, grace tabulo -- fairyland -- 57 malmsbury street -- kew (vic.)

A report in the Ballarat Star on 8 May 1901 recorded that: "THE CONVERSAZIONE. A GREAT SUCCESS. The conversazion given by the Government of Victoria at the Exhibition was very largely patronised. the guests includ ing the Prime Minister and a goodly proportion of the distinguished personages now in Melbourne. A programme of high-class music was gone through, and refreshments were served during the evening. Australian wines were very prominent."The document design has artistic and aesthetic merit. While it is not rare, it is representative of the kinds of formal designs used for the Australian Commonwealth celebrations at the time of Federation, and is in excellent condition. Such items as this invitation have local, state and national historic significance as mementoes of a key moment in Australia's history. Locally, the invitation is part of a group of Federation-related items owned and displayed by Mrs Grace Tabulo, the owner of 'Fairyland', 57 Malmsbury Street, Kew.Colour lithograph mounted on card to an evening event, a conversazione, held in the Exhibition Building on the evening of Tuesday 7th May 1901, as part of the Australian Commonwealth Celebrations. The Government of Victoria hosted the event. The invitation shows an etching of the Exhibition Building, surrounded by an ornate border of heraldic shields, portraits of the Duke and Duchess, views of Perth, Adelaide, Melbourne, Sydney, Brisbane and Hobart, and native flora (including wattle, waratah, pink heath, Sturt’s desert pea, and flannel flower), and native fauna (kookaburra, possum, lyre bird, cockatoo and koala). The royal crest ‘Dieu et mon droit’ and the Australian crest, ‘Advance Australia’ are also included.Printed front: UNITED AUSTRALIA 1901 / ONE FLAG / ONE HOPE / ONE DESTINY; AUSTRALIAN COMMONWEALTH CELEBRATIONS / THE GOVERNMENT OF VICTORIA requests the honour of the presence of / [name deleted] / at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901 at 8 P.M. Reverse [handwritten]: Mrs G. Tabulo, 57 Malmsbury St.sands & mcdougall ltd, documents - invitations, first commonwealth parliament 1901, grace tabulo -- fairyland -- 57 malmsbury street -- kew (vic.)

Produced and acted by members of the Heidelberg Theatre Company and all supporting areas including set design, set building, lighting and sound design and operation, costumes, front of house, ticket sales, publicity and administration were undertaken by HTC members.Artistic aesthetic social significance for the members, subscribers and audience of the heidelberg theatre companyAll items in good condition 1 Program 2 photos 3 Review 4 Newsletter 5 poster 6 newspaper article and photo from The Melbourne Observer heidelberg theatre company, htc, 2016, 411

Produced and acted by members of the Heidelberg Theatre Company and all supporting areas including set design, set building, lighting and sound design and operation, costumes, front of house, ticket sales, publicity and administration were undertaken by HTC members.Artistic aesthetic social significance for the members, subscribers and audience of the heidelberg theatre companyAll items in good condition 1 Program 2 photos 3 review 4 Newsletter 5 poster 6 newspaper The Heidelberger.letter to the editor from HTC patronheidelberg theatre company., htc, twelve angry men by reginald rose, director chris baldock, 2016, 413

Produced and acted by members of the Heidelberg Theatre Company and all supporting areas including set design, set building, lighting and sound design and operation, costumes, front of house, ticket sales, publicity and administration were undertaken by members of the Heidelberg Theatre Company.Artistic aesthetic social significance for the members, subscribers and audience of the Heidelberg Theatre Company Program Photos Review Newsletter Poster Articlesprogram 1 photos 2 review 3 newsletter 4 poster 5 article 6 htc, 2017, director, joan moriarty, heidelberg theatre company, australia day

Produced and acted by members of the Heidelberg Theatre Company and all supporting areas including set design, set building, lighting and sound design and operation, costumes, front of house, ticket sales, publicity and administration were undertaken by members of the Heidelberg Theatre Company.Artistic aesthetic social significance for the members, subscribers and audience of the Heidelberg Theatre CompanyAll items in good conditionheidelberg theatre company, kindertransport, htc, director, joan moriarty, playwright diane samuels

Produced and acted by members of the City of Heidelberg Repertory Group (now Heidelberg Theatre Company) and all supporting areas including set design, set building, lighting and sound design and operation, costumes, front of house, ticket sales, publicity and administration were undertaken by members of the City of Heidelberg Repertory Group (now Heidelberg Theatre Company).Artistic aesthetic social significance for the members, subscribers and audience of the Heidelberg Theatre Companytypeface blurry1954, 15, heidelberg theatre company, geoffrey dean, city of heidelberg repertory group, htc

Historic Artistic Research Social Provenance Rare. Condition InterpretiveBlack and white photograph of Captain John McLean 8/13 Victorian Mounted Rifles with trophy from 3rd Division Shooting competition 1977" 3 Div Small Arms Competition 1977, Captain J. McLean "

Ill, p.373non-fictionPart of his numerous writings concerned his work on Venice in three volumes: The Stones of Venice. He visited Venice in November 1849 with his wife, Effie, and stayed at the water-fronted Hotel Danieli. Their six-year marriage was never consummated and for Effie, Venice provided an opportunity to socialise, while for Ruskin it was a venue to engage in more solitary studies. In particular, he made a point of drawing the Ca' d'Oro and the Doge's Palace, or Palazzo Ducale, fearing they would be destroyed by the occupying Austrian troops. Ruskin made extensive sketches and notes for the three-volume work, which soon developed from a technical history of Venetian architecture, from the Romanesque to the Renaissance, into a broad cultural history. Cleverly Ruskin managed to reflect his own view of contemporary England and to weave in a warning about the moral and spiritual health of society. Ruskin argued that Venice had slowly deteriorated. Its cultural achievements had been compromised, and its society corrupted, by the decline of true Christian faith. Instead of revering the divine, Renaissance artists honoured themselves, arrogantly celebrating human sensuousness. It is a work of immense worth both culturally and artistically. venice, venice - architecture

Ill, p.406.non-fictionPart of his numerous writings concerned his work on Venice in three volumes: The Stones of Venice. He visited Venice in November 1849 with his wife, Effie, and stayed at the water-fronted Hotel Danieli. Their six-year marriage was never consummated and for Effie, Venice provided an opportunity to socialise, while for Ruskin it was a venue to engage in more solitary studies. In particular, he made a point of drawing the Ca' d'Oro and the Doge's Palace, or Palazzo Ducale, fearing they would be destroyed by the occupying Austrian troops. Ruskin made extensive sketches and notes for the three-volume work, which soon developed from a technical history of Venetian architecture, from the Romanesque to the Renaissance, into a broad cultural history. Cleverly Ruskin managed to reflect his own view of contemporary England and to weave in a warning about the moral and spiritual health of society. Ruskin argued that Venice had slowly deteriorated. Its cultural achievements had been compromised, and its society corrupted, by the decline of true Christian faith. Instead of revering the divine, Renaissance artists honoured themselves, arrogantly celebrating human sensuousness. It is a work of immense worth both culturally and artistically. venice, venice - architecture

Index, p.355.non-fictionTerence Brown traces the development of modern Ireland through a juxtaposition of key topics - nationalism, industrialisation, religion, language revival and censorship with an assessment of the major literary and artistic advances achieved during the same era.ireland - social life and customs, ireland - politics and government

The ceramic plate commemorates the 150th anniversary of the State of Victoria, with an original painting of the Royal Exhibiton Building in Melbourne on the front, by the Victorian artist Charles McCubbin (1930-2010). Charles McCubbin was the grandson of the Australian painter Frederick McCubbin (1855-1917). The ceramic plate commemorating the 150th anniversary of the State of Victoria has state and national signifcance as one of 5000 plates worldwide released by the Moliver Collection. It also has artistic signifcance as there is an original painting of the Royal Exhibition Building in Melbourne on the front, by the well known Victorian artist Charles McCubbin, who was the grandson of the renowned Australian painter Frederick McCubbin.Blue and pink toned circular ceramic plate commemorating the 150th anniversary of Victoria in 1984-5. Front: An original painting of the Royal Exhibition Building in Melbourne, signed by the artist Charles McCubbin, with an inscription around the top and bottom edges. Chip in the edge of the ceramic below the date 1984-5. Back: Text about the plate commemorating the 150th anniversay of Victoria with an original painting by Charles McCubbin and his signature, as well as the Plate No. 0404 and trade marks of the Moliver Collection, Westminster Fine China, Australia and Victoria 150.Front: "To Commemorate the 150th Anniversary / of Victoria 1984-5" - around the top and bottom edges of the plate. "Charles / McCubbin" signature above the date 1984-5. Back: "The Official Plate Commemorating / Victoria's 150th Anniversary. / Officially endorsed by the Victorian Government / and the 150th Anniversary Board. This plate is one / of a limited edition of 5,000 plates worldwide released / by The Moliver Collection / Original painting by Charles McCubbin." - on the upper part of the back of the plate. "THE MOLIVER / Victoria 150 Years / COLLECTION" - on the centre of the back of the plate. "M / THE MOLIVER COLLECTION - on the proper left side of the back of the plate. "Charles McCubbin" - signature in the central part of the back of the plate. "FINE CHINA / Westminster / AUSTRALIA" - on the proper right side of the back of the plate. "Plate No. 0404" - on the lower proper left side of the bakc of the plate "VICTORIA 150 / GROWING TOGETHER 1984-5" - on the lower central part of the back of the plate.victoria 150 years, charles mccubbin, commemorative ceramics, royal exhibition building, the moliver collection, westminster fine china, victoria 150

A small buff coloured publication containing an anthology of poetry by local writers.This booklet is an anthology of poetry written by local writers of the Albury-Wodonga border district and its communities. It contains 47 pages and comments on key local identities and events.albury-wodonga district, borderline writers

A wide range of small china pieces carrying scenic views of holiday destinations or key locations were a popular kind of souvenir during much of the 20th century. Several different pieces were used to depict Wodonga during this period, primarily focusing on the Woodland Grove and the Soldier Memorial. In 1924, Arthur Arnold and his father Wilhelm Arnold had established a general store in High Street, near the water tower, but in 1931–32 they moved to new premises in High Street on the corner of what is now known as Elgin Boulevard. In 1933-34 they widened the frontage of the shop and added new premises at the rear for the sale of produce. As customer debt mounted during the depression, it became difficult for Arthur and Wilhelm to re-stock the shop, so they enticed customers into paying their accounts by rewarding them with a small individual cream or milk jug upon payment. The jugs were made in Czechoslovakia and displayed the war memorial, water tower and bandstand from Woodland Grove, Wodonga. The Arnolds continued to trade until they finally closed their store in 1950. Wilhelm Arnold was a brother of J G Arnold, whose business ultimately became the present-day Arnold’s Fruit Market, Wodonga. This item has local historic and social significance as it depicts which features of the city the community valued in the past. It has artistic significance as an example of the kinds of souvenirs used widely across Australia to represent communities and the landscape.A pair of miniature white jugs with a gold rim and handle detailing. A hand-coloured transfer image fills the front side depicts Woodland Grove Wodonga, including the Soldiers' Memorial, Water Tower and RotundaBeneath the image : "WOODLAND GROVE, VIC. / With Compliments/ from/ A. Arnold & Co."wodonga, souvenirs, woodland grove, ceramics, arnolds wodonga

A wide range of small china or glass pieces carrying scenic views of holiday destinations or key locations were a popular kind of souvenir during much of the 20th century. Several different items have been produced to commemorate Wodonga and its landmarks over time. These items document key changes in Wodonga and its heritage. This ashtray showcases a photo of High Street, Wodonga, VictoriaThis item has local historic and social significance as it depicts which features of the city the community valued in the past. It has artistic significance as an example of the kinds of souvenirs used widely across Australia to represent communities and the landscape.An oval shaped glass ashtray, incorporating a sepia print image of High Street, Wodonga, Victoriawodonga victoria, souvenir, high street wodonga, ash trays

p.424.non-fictionFaust is the protagonist of a classic German legend. He is a scholar who is highly successful yet dissatisfied with his life, so he makes a pact with the Devil, exchanging his soul for unlimited knowledge and worldly pleasures. The Faust legend has been the basis for many literary, artistic, cinematic, and musical works that have reinterpreted it through the ages. Faust and the adjective Faustian imply a situation in which an ambitious person surrenders moral integrity in order to achieve power and success for a delimited term. The Faust of early books - as well as the ballads, dramas, movies, and puppet-plays which grew out of them - is irrevocably damned because he prefers human to divine knowledge; "he laid the Holy Scriptures behind the door and under the bench, refused to be called doctor of Theology, but preferred to be styled doctor of Medicine". Plays and comic puppet theatre loosely based on this legend were popular throughout Germany in the 16th century, often reducing Faust and Mephistopheles to figures of vulgar fun. The story was popularised in England by Christopher Marlowe, who gave it a classic treatment in his play, The Tragical History of Doctor Faustus. In Goethe's reworking of the story two hundred years later, Faust becomes a dissatisfied intellectual who yearns for "more than earthly meat and drink" in his lifegerman literature, german drama

Ill, p.262.fictionTatsu (Sessue Hayakawa) is a reclusive, tortured artist who continually paints brilliant pictures of a dragon that has the soul of a princess. When Tatsu meets the beautiful Ume Ko (Tsuru Aoki), he thinks that she is the living embodiment of the princess he has spent years imagining. He immediately falls for Ume Ko; initially overjoyed, Tatsu soon becomes despondent when he realizes he has lost his inspiration to paint. He must now somehow learn to balance love with artistic fervor.painting - japan, novels - japan

Ill, p.65non-fictionA history of the artistic endeavors of the van Eyck brothers dutch painters, art history - netherlands

Index, ill, p.196.non-fictionA critical and interpretive study of artistic representation of our ladyreligious interpretation, religious art

Index, ill, p.174.non-fictionA critical and interpretive study of artistic representation of Jesusreligious interpretation, religious art

These volumes reproduce the diary material and the landscapes and sketches of Charles La Trobe, the Superintendent of the Port Phillip District of New South Wales ( 1839- 1851) and Lieutenant Governor of the colony of Victoria ( 1851-54 ). La Trobe is regarded as the man most responsible for the establishment of Warrnambool in 1847. His diaries document his trips to the Warrnambool region in 1845, 1846, 1848 and 1849 before and after the town site was settled.These volumes are of artistic significance being beautifully and expensively produced. The volumes contain information of vital importance to our knowledge of our early Warrnambool history. Other important details in the diary include information on early shipwrecks and the first settlers in our district in our district, especially the Allan brothers..1 This is a burgundy leather bound book of 380 pages. It has gold lettering on the cover and the spine and an oval inset in the centre of the front cover containing a coloured portrait of Charles La Trobe. The pages contain black and white and coloured art works and sketches and printed material. There is a burgundy coloured ribbon for marking pages The book is encased in a hard leather cover with a cut out window with gold edging. .2 This is a burgundy leather bound book of 343 pages. It has gold lettering on the cover and the spine and a rectangular inset in the centre of the front cover containing a coloured sketch of a rock, sea and cliffs drawn by Charles La Trobe. The pages contain sepia and black and white drawings and printed material. There is a burgundy coloured ribbon for marking pages. The book is encased in a hard leather cover with a cut out window with gold edging . .1 Charles Joseph La Trobe AUSTRALIAN NOTES 1839-1854 .2 Charles Joseph La Trobe LANDSCAPES AND SKETCHES charles la trobe, early warrnambool, la trobe journals