This building is the earliest building remaining on site today. It was built in 1875 and was the second school building replacing the original 1856 building of stone walls with wooden shingles on the roof. That building needed to be replaced after the stone walls collapsed outwards. In August 1912 the school issued a requisition for remodelling of the school concerned with replacement of the existing windows with larger and wider windows to allow additional light into the school rooms and the erection of a wooden partition in the centre of the room. An extension to the building at rear and skylights in the roof were added in 1921. Only two low wooden stairs were originally provided to enter the porch. These were rebuilt by 1928. A steel mud grate was introduced 1930s/1940s and an infant shelter shed circa 1945.jim connor collection, dalton street, eltham primary school, eltham state school no. 209, state school no. 209

In 2015 The Royal Australian Mint a series of 50 cent coins to commemorate the 100 years of ANZAC. This is one honouring the role of the nurses who served. It features the stained glass window from the Hall of Memory at the Australian War Memorial that as the image of nurse. It has the Legacy logo on the reverse of the card. The coin has the image of nurse attending to a wounded man with poppies and the word 'Devoted' around the outside. Text says 'Amid the squalor of trench warfare, Australian Army nurses were synonymous with duty and care - even risking their lives for their patients. The Devotion window shows a nurse, with the Red Cross as the symbol of charity.' Donated to Legacy by the family of Priscila Wardle after part of her diary was found in the archive and reunited with the family in 2021.A record that the Royal Mint and Legacy honoured the work of First World War nurses.An uncirculated Australian 50 cent coin in a protective pack.nurses, world war one

One of a series of Mission to Seamen postcards produced in the immediate post-war and post WW2 period.Visual record of the club area of Mission to Seafarers, 717 Flinders Street, Melbourne in the 1950s (before Queen Elizabeth's corporation) ready for the dances.Black and white gloss postcard depicts the central club space. Taken facing stage with flowers on stage, a drum kit and a piano. Curtained backdrop with sixteen chairs in front of the proscenium. Shows dance floorboards and fan-shaped window above doorway on far left wall.Printed on back: 'POST CARD/CORRESPONDENCE ADDRESS ONLY/' . Stamp location is top right and is indicated by the word 'KODAK' on four sides.club, stage, mission to seafarers, seamen's mission, mission to seamen, main hall, dancing, events, curtains, royal portraits, king george vi, drums, piano, chairs, music, band

Shire Hall in Thompson Avenue, Cowes. Built early 1930's. Demolished 1984/1985. The Shire Hall was also used as a Picture Theatre and Ballroom catering for 200 persons. On the right hand side was the Library which later was moved downstairs. The Council Chambers were on the third floor.Shire Hall in Thompson Avenue, Cowes. Box like building with windows overlooking the street. Note entrance at the middle of the building - also the Notice Board on the right advertising the forth coming films. The building was on three levels. Note Balcony above front door in the middle of the building.local history, photographs, historic, buildings - historical, coloured photograph, john cook, phillip island, cowes shire hall

Black and white photograph showing a group of children in front of an old building. An adult male is standing to the right of the group. Girls in the photo are wearing light coloured pinafores over dark, long dresses. Males are wearing suits and ties. The building is weatherboard and has two windows.Handwritten in blue ink on the rear of the photo is "This old building was in Ingor St (near High St) where the ESSO station now is.

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Black and white photograph of a man dressed in a suit standing leaning against the entrance surround of an ornate stone door of a church. Above the door is the lower part of a four sectioned stained glass window. The man is Frank Wright and the place is St. Andrew's Parish Church in Plymouth.Written in pencil on the back - Frank Wright 32, outside St Andrew's Parish Church (13th Century), Plymouth 19-6-34frank wright, conductor, st andrew's parish church, plymouth, church door

Bill Delecca was born in Bendigo, Victoria in 1929. A Bendigo-based teacher and painter, he has exhibited widely in the local area from 1951, including a retrospective in Bendigo Art Gallery, 1990. He has twice won the Bendigo Art Prize for watercolour and his work is represented in galleries and private collections throughout Australia and overseas. Instrumental in the establishment of degree courses in Art at Bendigo College of Advanced Education, he is also the author of an Education Department report to the Australia Council, 1987.Untitled Oil painting depicting an old miner's cottage. The cottage has two wooden doors the one on the left is open and a window can be seen at the other end. The second door is closed. On the right hand side there is another building. A large tree and a tree stump on the foreground.The signature of the artist at the bottom right hand side landscape, miner's cottage

Colour photograph of brick building at Redesdale. Brickwork is painted white, red iron roof. Written on rear of photo ' Grocery (l), Butchers (R). Building has three windows and two doorways on the front. Photo taken during a BHS tour, possibly 1990's.buildings, commercial, redesdale

black and white image. Two storey building, narrow, one arched window and one door. Verandah with lace work. Former building occupied by Dr. Lamsey. On front in pen MP 127, on rear in pen Dr. Lamsey's Rooms, Howard Place. MP 127

This is a photo of a sewing class for young girls in Ithaca. The women are proud to show off their sewing machines as the acquisition of these items would allow them to make many personal and household items more quickly and efficiently than they could be made by hand. Sewing was considered an important skill for young women and dressmaking was also a means to earn money to help support their families. A black and white scanned photograph taken outdoors of fourteen women sitting behind their treadle machines and posing with their needlework. Three women and a man are standing behind the group and two boys and a girl are sitting in the front on stools. A building with four large security windows/entrances in the background. 29 pas 7 is written on the back

Photograph. Harry Biggs Collection. A black & white photo of three butchers standing in front of their butchers shop. Carcasses of meat are hanging down & many more displayed in the window of the shop. 'W. B. Gittins' Establishment. Robinson Photo. Plate 148 (printed at the bottom of the photo).organization, business, commercial, harry biggs collection, w. b. gittins' establishment, butcher shop

1: card with choir boys on front. blue background featuring church window. Christmas Vietnam 1964. Inside card is menu of Christmas Day Lunch 2: Card with butterflies and flowers Ming Le Giang Sinh on front. Inside pop out garden flowerscards, christmas

Peter Muller was a German pilot in North Africa and captured and sent to Camp 13. Model of JunkersBlack and white photograph of Peter Mueller in Luftwaffe uniform and forage cap in front of a hut and suspended from the window is a 4 engine model plane. Looks like a civilian plane the left hand of Herr Mueller is lightly holding up the wing tip of the model plane.peter mueller, german internee, camp 13, camp internees, luftwaffa pilots, german planes, model planes

Original water colour painted by Glunker an internee at Camp 3Hoefer Familywatecolour of camp 3. 2 half huts half obscured, 2 posts, 9 wire strand fence with an electric powerline. Tall gum tree left hand side, gardens. I. (Note : Glass windows had replaced fly wire by 1941 in the huts.) Glunker 42painting, watercolour, huts, glunkler, hoefer family, camp 3, tatura, ww2 camp 3, illustrations

Our Lady of Mt. Carmel Church was designed by the architect William Wardell. Prior to the construction of the church, mass was conducted at the Daniel Home 'Narbonne'. The foundation stone was laid on 13/11/1804 by the Catholic Bishop of Melbourne, Rev. Dr. J. Goold and the church opened in 1875 with later additions erected in 1890.A coloured photograph of Our Lady of Mount Carmel Church. It is an image of the front on west end of the church which highlights the rose window above the door and shows the skillion roofed room on the south side of the church. On the LHS of the photograph there is a board giving details of the mass times and clergy.wardell, william, our lady of mount carmel church, catholic church, george evans collection

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

Railway Signal Box No1 under Demolition situated by boom gates, Seaby Street Stawell. Photos of the demolition show workmen carrying out the work outside and inside of the signal box.Two colour photos of the demolition of wooden building. One photo is the outside of a signal box beside a railway line with a person on the roof. Windows of the building have been removed and stacked near the building. The other photo is taken inside the signal box with a person working on the building. stawell

Brick Ticket Box built around c 1937. This photo of the Ticket Box is located in Lower Main St, and on the right side of main gates to Central Park.Colour photo of Brick Ticket Box, Lower Main St, at Central Park located right side of main gates. Photo taken in 1999. Photo shows the tile roof with moss growing all over the tiles. The three windows are covered with a white security mesh.stawell central park

History prepared for the Christ Church Archives Committee. Includes history of the window and of the McClelland family and a letter from Bronwyn Hughes of Monash University regarding its manufacture. There is also a page from a Brooks Robinson Pty. Ltd. catalogue. Includes a colour photograph. 7 pages.christ church anglican church, mitcham;, stained glass windows, mcclelland family, mcclelland, john

Private residence built 1925c for Frank Harbeck|Also Two other colour photographs showing two brick chimneys left standing until site cleared for construction of holiday accommodation.Colour photograph of a dwelling at 55 Church Street, prior to demolition. Weatherboard building, iron roof, gable projection. NW and SE corners, gable ventilator in centre roof, veranda on two sides. Bay window across corner of front room. Lakes Entrance Victoriahouses, township

Built post WW2 as home for Rev Canon Albert E Clark. The decorative brick and stone work on house and in garden built by Canon Clark with assistance of wife and daughter Ruth. Ruth Clark, noted botanist, with particular interest in the ground orchids of East Gippsland, continued living here until her death in Septemebr 1997.Colour photograph of a timber dwelling. Tiled gable roof, sash windows, decorative stone work on chimney, base of house, veranda, paths, garden and front fence. Attractive wrought iron railings atop stone fence, at 7 Williams Road, Lakes Entrance Victoriafences, houses, heritage study

The congregation gathers outside the newly built church. All are well dressed, most wearing hats.There appears to be 14 women, 8 men (one the pastor) and 9 children.The elderly lady appears to be Mrs Eliza Hand, though no lace collar or hat. There is no window in the porch.eliza hand, fiveways, kalorama methodist church, methodist church

Framed watercolour titled: "After the Rain" by Julie Lundgren Coulter. Set in cream window mount with engraved brass plaque affixed to lower edge. Brown painted wood frame. Features five bathing boxes on beach with grey clouds in sky and water pools in sand.

Colour print of Caribbean Art painted by Gilly Gobinet. Features a man on a donkey, woman with child, goat and chickens on a road near a village. Sea and sky in background. Set in cream card window mount. Sealed in cellophane bag with blue sheet containing a description of the artist.

Framed pastel titled: "Fauna in the night" painted by Dorothy Turnball. Features a possum perched on a branch amongst red blossoms. Set in grey card window mount with red and grey trim. Grey painted wood frame. Brass engraved plaque affixed to lower edge.

Colour photograph: single storey hotel, white painted façade, brown trim. Foundry Arms Hotel, situated on corner of Old High Street and Shamrock Streets, Golden Square. Arched windows, flat roofed extension at rear of hotel. Potentially early 1980's?bendigo, hotel, foundry hotel, golden square

Colour photograph: Reservoir Hotel, Condon Street, Kennington. Image shows brown brick modern structure, brown and taupe awnings over windows, ladder leaning on wall. Reservoir Hotel, Kennington, on small sign near front door. Could be early 1980's?bendigo, hotel, reservoir hotel

Colour photograph. White painted, single fronted hotel, small pediment on top with '1884' printed. Name of hotel, Railway Station Hotel, in brown paint on front façade, brown and white striped awnings over doorways and windows in front. Appears to be early 70's ?bendigo, hotel, railway station hotel

A civic campaign for new public offices developed in Kew in the 1880s. After much deliberation, the location chosen was the junction of Bulleen and Cotham Roads. The buildings were designed by George Watson and John Henry Harvey, architects within the Department of Public Works (Victoria). Building was commenced in 1887, and after one year, the buildings were opened. The Post Office was transferred to the new Commonwealth Government in 1901. The Police Station and Court House, sold by the Victorian Government to the City of Boroondara in 2007, are now a community cultural centre and performing arts venue.The buildings were listed on the Victorian Heritage Register Register (HO885) in 1991. They are historically and architecturally significant to the State of Victoria because Watson and Harvey's designs exhibit diversity in integrating civil offices, they accommodate the apex of road junctions, and they demonstrate a departure from the contemporaneously favoured High Victorian Classical to the Queen Anne style in the design of civic buildings. 35mm colour transparency of a window of the Kew Post Office and Court House at the corner of High Street and Cotham Road. The building is a significant example of the English Queen Anne Revival style. The photograph was taken as part of a series by Ralph Andrews (Department of Building, RMIT) in April 1980.kew post office, khs - slides, new public offices -- kew (vic.), architectural styles -- english queen anne revival