Alma Shanahan (1924-2015) was a Victorian potter who came to live at Clifton Pugh's Dunmoochin art colony at Cottlesbridge, on Melbourne's outskirts in 1953. Unable to join the co-operative proper, as she was a potter, not a painter, she built her house at the top of the hill, 135 Barreenong Road, Cottles Bridge. The c.1953 house is historically, aesthetically and architecturally significant because it is a good example of the design and ethos of mud brick dwellings synonymous with Eltham and features the extensive use of recycled materials, which was characteristic of the 'Eltham style' of architecture. Like the others in the artist community, Alma Shanahan built her own residence in stages out of local materials. Shanahan was later joined by neighbours and Dunmoochin potters Peter and Helen Laycock. She trained for a term with Peter Laycock but was otherwise self-taught, basing her practice on the teachings of Bernard Leach. After Pugh's death in 1991 she became the longest standing Dunmoochin resident. Her works are incised with her full name. Alma Shanahan was a part of the Dunmoochin Artist's community whose (other) members (Kevin Nolan, John Howley, John Olsen, Mirka Mora, Peter Laycock, Helen Laycock, Peter Wiseman and Chris Wiseman) made an important contribution to Victoria's cultural history. From the mid 1950s Pugh persuaded a number of other painters, as well as potters and other artists, to come and live at Dunmoochin and they formed one of Victoria's most important artist communities. She started potting around 1961 (aged 37). "Horse Power" was made using Chullora clay, which indicates it was made during her first seven years of production. Horse Power is about man's search for "energy" and how the "energy" can turn around. Made from Chullora (Sydney) clay. Glazed stoneware plates (x2) with brush decorations resting on hand made ceramic stands. Plate one: 2006.64.1VA (Horse Power + stand) shows a figure on horse back with blue foliage in background. Plate two: 2006.64.2VA (Flip Side + stand) shows a horse with figure under it's hooves. Hand painted signature in brown/black on back of both plates; "Alma Shanahan"shanahan, stoneware, glaze, plates, horse, dunmoochin

Art collectionThe print depicts two tree trunks in the foreground surrounded by bushland. The two tree trunks are composed of patches of white, grey, yellow, light brown and dark brown. The trees in the background are composed of a single colour. On the lower left side is a plant with light blue foliage. The work has a painted wooden frame with small white mount and glass.Front: Hunter (brown handwritten, lower right, partically covered by the mount) Back: 1972 (lead pencil, upper left)

Black & white photograph of Addie Keating. She is sitting on a chair and is turned towards the camera. She is wearing a lacy, off the shoulder dress with foliage on the front. and holding a sprig of flowers in her hand. She is also wearing a very long, beaded necklace, long hair. The photo is on board. There is a light, drawn rectangle around her head and shoulders.Vincent Kelly. Bendigophoto, individual, female, photograph, addie keating, adeline may keating, vincent kelly

Garden beds just planted. Appears as an illustration in, "Green Grows Our Garden," A.P. Winzenried p 89.Administration Building soon after completion. The garden beds have been laid out but no planting has been done. The photograph has been taken from the east. The College flag is flying. Caption from Winzenried, "Green Grows Our Garden," p. 89 reads, "A landscaping challenge. Stark outlines of the building are gradually softened by foliage."administration building, green grows our garden, a.p. winzenried, landscaping, flag, emily gibson beds

James “Jinger” Trewartha was a well known cricketer in the Bendigo District Cricket Association in the 1890s, playing for the Long Gully Cricket Club. James was born in 1871 in Sandhurst to Abraham and Sarah (nee Traverton) Trewartha. He was the second eldest son with seven brothers and five sisters. In the late 1880s the family moved to Milroy Street, Ironbark. James and his brother Albert played in the BDCA premiership teams of 1896/97, 1897/98, 1898/99, 1900/01, 1901/02. Long Gully Cricket Club 1894 – 95. Long Gully joined the BDCA. James Trewartha was first recorded playing in the BDCA. He took an outstanding 8 wickets for 10 runs in one match. 1897 – 98 Trewartha played in a Bendigo XVIII against an England XI. Trewartha won the BDCA Bowling Average. 1898 – 99 Trewartha won the BDCA Bowling Average. At the 1899 annual banquet of the L.G.C.C., James Trewartha was presented with a gold watch and chain, subscribed for by the District’s cricketers. (10866.1) 1901 – 02 Trewartha won the BDCA Bowling Average. 1903 – 04 Last record of Trewartha playing in the BDCA. 1904 – 05 Long Gully left the BDCA. James Trewartha never married. He moved to South Melbourne in 1910 to live with his mother and sister Mary Ann (Polly) Angwin. James Trewartha died on 9 September 1926 when hit by a train. He is buried in Fawkner Cemetery. Black and white photograph of James Trewartha mounted on dark brown board. the photograph shows a man standing in front of a backdrop showing a bridge and foliage. The man is dressed in cricket whites (shirt and trousers) with a striped tie and cricket cap. Embroidered on the cap "L.G.C.C. 1897 - 8 PREMIERS" See also 10866.1. Pocket watch that belonged to James Trewartha.Written in pen on the back of the photograph "J. TREWARTHA LONG GULLY C.C.long gully cricket club, j trewartha, james trewartha, cricket, jinger, "jinger" trewartha, bdca, bendigo district cricket association

The artist’s comment on her work: “The Rowitta”, Flagstaff Hill. Warrnambool: "This boat was the venue for our daughter’s Wedding. The pastel work was undertaken after a beautiful day at Flagstaff Hill in 2012. I enjoyed working with the shadows and the foliage. Carmel Beavis” The popular steam ferry Rowitta is featured in this pastel picture on canvas by local artist Carmel Beavis. The iconic Norfolk pines stand tall against a blue sky, while colourful reflections shimmer in Flagstaff Hill’s harbour. The historic lifeboat “Warrnambool” is dwarfed by Rowitta’s size. Carmel’s daughter celebrated her wedding on board the Rowitta, which had been a very popular exhibit visitors for around forty years. This picture is one of several that were created by Carmel for her family and friends as a memento of the wedding and a way to keep the memory of Rowitta alive. Some of Carmel’s other works illustrate Flagstaff Hill’s 2017 publication “Tearooms Cookbook”. Some of Carmel’s paintings featured in the Tearooms Cookbook, produced around 2017 for fundraising for Flagstaff Hill. The Rowitta was a timber steam ferry built in Hobart in 1909 using planks of Huon and Karri wood. She was a favourite of sightseeing passengers along Tasmania’s Tamar and Derwent rivers for 30 years. Rowitta was also known as Tarkarri and Sorrentoand had worked as a coastal trading vessel between Devonport and Melbourne as well as along the southern coast of Australia. In 1974 Rowitta was purchased by Flagstaff Hilt to convert into a representation of the Speculant, a historic and locally significant sailing ship listed on the Victorian Heritage Database. (The Speculant was built in Scotland in 1895 and traded timber between the United Kingdom and Russia. Warrnambool’s P J McGennan & Co. then bought her to trade pine timber from New Zealand to Victorian ports and cargo to Melbourne. She was the largest ship ever registered with Warrnambool as her home port, playing a key role in the early 1900s in the Port of Warrnambool. In 1911, on her way to Melbourne, she was wrecked near Cape Otway. None of the nine crew lost their lives.) The promised funds for converting Rowitta into the Speculant were no longer available, so she was restored back to her original configuration. She represented the importance of coastal traders to transport, trade and communication in Australia times before rail and motor vehicles. Sadly, in 2015 the time had come to demolish the Rowitta due to her excessive deterioration and the high cost of on-going repairs. She had given over 100 years of service and pleasure to those who knew her. Early in 2019 Carmel gifted this picture to her friend Shirley Lindsay, who had been President of Wadas Artist Society. A few months later Shirley and her husband John (founding Director of Flagstaff Hill Maritime Village) thought the picture would be appropriate to Flagstaff Hill and presented it with pleasure to the Friends of Flagstaff Hill group later that year.The Rowitta represents the importance of coastal traders to transport, trade and communication in Australia before rail and motor vehicles. The painting is also significant as a record of an exhibit at Flagstaff Hill Maritime Village from is early beginnings. The painting is locally significant for being connected to a local and well known artist Carmel Beavis.Picture, coloured pastel work on canvas in timber frame behind glass. The artist, Carmel Beavis, depicts the steam boat “Rowitta” moored beside the historic lifeboat “Warrnambool” on the lake at Flagstaff Hill Maritime Village. The Rowitta is reflected in the water. The background includes the iconic Norfolk Pine trees. The work was framed by Warrnambool Picture Framing & Gallery in 2012.Signed on front, bottom left “C.L. Beavis”. Artist’s printed label on reverse “The Rowitta, Flagstaff Hill. Warrnambool: / This boat was the venue for our daughter’s / Wedding. / The pastel work was undertaken after a/ Beautiful day at Flagstaff Hill in 2012. / I enjoyed working with the shadows and / The foliage. / Carmel Beavis / Warrnambool. VIC. 3280. / Telephone (03) 5562 1806. / Price: $” Handwritten on artist’s label “250.00” Framer’s printed label “Warrnambool / Picture Framing / & Gallery / 42 Kepler St, Warrnambool 3280 03 5561 5722 / www.wboolframing.com.au” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, picture, pastel, carmel beavis, rowitta steam boat, warrnambool picture framer & gallery, wedding on the rowitta, the rowitta, tearooms cookbook, hobart steam ferry rowitta 1909, tarkarri, speculant, coastal trading vessel, p j mcgennan & co, peter mcgennan, sorrento

This business card advertised the business of Charles Hider who had a stationery and book shop in Liebig Street from the 1860s to the 1880s. (63 Liebig Street today). He also sold photographs and pictures, picture frames, pianos and other musical instruments and homeopathic medicines and was an agent for local newspapers and overseas magazines. The stamp on one side of the card shows Liebig Street spelled ‘Liebeg’, suggesting that the stamp was perhaps made in the 1860s when ‘Liebeg’ was the common spelling of the street name. Charles Hider’s brother James also had a book and stationery store in Warrnambool in Timor Street in the 19th century. This card is of considerable interest as it belonged to Charles Hider, a prominent businessman in Warrnambool in the 19th century. It also shows the type of business card used in the 19th century.This is a small business card from Charles Hider, a 19th century Warrnambool bookseller and stationer. It is buff-coloured on one side with a stamp of Charles Hider on a white background and a sketch of a sprig of daisies with foliage. The flowers are coloured red, white and green. On the other side is information on the items sold in Hider’s shop and other services offered. The information is printed in black on a buff-coloured background. ‘Chas. Hider, Liebeg (sic) Street, Warrnambool’charles hider, warrnambool

CENTRAL white silk square surrounding a small panel of embroidery featuring flags of various nations in the shape of 1918. Cotton lace inserts between 4 silk panels embroidered with pale pink & white flowers & trailing green foliage. Pale pink ribbon bows at each corner < the whole silk panel edged with wide, scalloped edge lace with mitered corners.1918 Souvenir de Francemilitary history-souvenirs, flags - national, manchester - fabric

Sepia? Photograph of 14 men. Three are seated at a small table and the rest are seated in a row behind them. There is a decorative wall and doorway behind them and some palms and other foliage in the photo. Photo is mounted on cream card with two indented borders. Handwritten on the back: Master H? Davies, Clive St., W. Footscray. Photographer's name is stamped on the back in blue.Cyril White, Mundy Street, Bendigophoto, group, male, joseph davies collection, photograph of 14 men, master h davies, cyril white

Book. Red hardcover book with gold and black embossed picture of people and foliage. Gold lettering on front cover reads 'Scraps' Back cover has an embossed edged border. Scrapbook contains a few handwritten poems signed by Percy James Anderson and contains varying Seasons Greetings coloured cards, religious quotes, and a wide variety of cutouts that have been glued in.book, ephemera, scrapbook

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Digital photograph of the pattern of plain and decorative hearth tiles in the fireplace of the dining room at Villa Alba. The centrally-placed decorative tiles depict a surround of pink and yellow flowers with a corner decoration, once assembled, that features cobalt blue fern leaves, chrysanthemums and foliage, , set within plain maroon and teal blue rectangular tiles. The tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba -- dining room

Donors were:- Hepburn, Mrs A.E. Hepburn, Miss E Hepburn, Mr. Hepburn Mr. Zeogh Holman, Mrs. Evalie.The Illustrated Australian News published 1864-1896 was a pictorial newspaper based in Melbourne. It was published by David Syme & Co. The framed etching was copied from a supplement in the newspaper. The State Library of NSW. Search Manuscripts, Oral History, and Pictures Catalogue, has copies of the newspaper.A black and white etching titled 'A Native Funeral. A reminiscence of the Murray River' in a black frame with gold inner edge and grey mount. Picture features six canoes with lead canoe, in centre, carrying a body covered with foliage. April 2012: During restoration it was found under the original mount board the print 'Supplement to the Illustrated Australian News December 1885' First Nations.Supplement to the Illustrated Australian News December 1885illustrations, etchings

Jim Woolrich, brother of Ted and son of George Woolrich dressed in a suit, tie and hat. In 1917 Jim started a passenger car service from Ferntree Gully to Olinda with his father, George. This did not last long. Around 1919 Jim had started a nursery on part of his father's land in Olinda. He produced and sold flowers and foliage to shops.Jim Woolrichjim woolrich, woolrich, olinda

The foundation stone for St George's Church of England, Mont Albert was laid in 1886 on land donated by Edward Dyer and the first service was preached in January 1887. From 1904 until 1907 it was known as Holy Trinity, Surrey Hills. The original church was weatherboard and replaced by a brick one in the Gothic Revival style which was designed by local architect George J V Blackburne, who also designed the Wesleyan School at Surrey Hills. The building was partly funded by donations, profits from a bazaar and concert, and other people donated furnishings. The church had boundaries along Mont Albert Road and St Georges Road. In 1998 the Church was sold and converted into a complex of units. Its current address is 19 St Georges Avenue, Mont Albert.Black and white photo of 8 boys in suit jackets. 3 boys standing, 3 kneeling with one hanging his arm around shoulder of boy next to him and hand on shoulder of one of 2 boys sitting in front. Outdoor setting with tree and foliage behind. First names of boys identified as Barrie, Maurice, Robin, David, Arthur, Geoff, David and Ian.REAR: Barrie, Maurice, Robin/ David, Arthur/Geoff, David, Ian/March 1945/St Georges SS/1945/children, mary clucas, clothing and dress, 1945, st georges sunday school, holy trinity church, mont albert, sunday schools, surrey hills, st george's anglican church, 1940-1949

Object. Handle engraved with the owners initials - MB. A ''knob'' at the top of the handle, has a foliage type design impressed in the steel. This continues down each side of the handle, finishing with further decoration at the base of the handle. Just beside this lower decoration, on each side is a hallmark, now very difficult to read. A small one cm. diameter hook at the lower edge of the tapered shaft.On the shaft of the hook - ''English mane ? Or make? Steel . On handle MB in ornate engraving- (Maggie Barber).personal effects, steel button hook

Monochrome portrait photograph of a man. He has a beard and bushy eye brows and sits with his face slightly in profile. He wears and double breasted jacket with a bow tie. His portrait is placed in an oval framed mount board which is in a rectangular wooden frame. The frame is painted dark brown but has a border of flowers and foliage picked out in gold colour.official portrait photography, civic portrait, mayor, portland mayor, 1800s

This book was a highly regarded reference book for students in primary and lower secondary schools within Victoria from the late 1800s to the mid 1900s. The book provided students with the fundamental knowledge of botany for the era in which it was produced. As this book was targeting a junior schooling level (basic), it could cover a greater and extended reader population. Teaching institutions could, because of its straight forward, basic written information, retain this book's circulation for a greater length of time, thereby optimising the return against the greater initial costs of importing it from England.This book was produced in a time where learning was at a relatively slower pace (due to a smaller source and supply of material). The availability of a large range of cheap reference books such as that offered from 1971 on wards via the internet "Project Guttenberg" in the form of electronic books, has dramatically provided a larger source of reference material. The significance of this book on botany, is that it was highly effective for the era in which it was produced and in particular the students at a rural based school. Being in a rural area students were able to identify local vegetation to the various life cycles of plants presented in this mainly United Kingdom/European referenced book. The students in the Kiewa Valley and attending a rural school, where in a position to study all the fundamental teaching that this book encompassed. This in one way provided students in the valley a slightly better appreciation between book and real life (on the land, in the field and by the river). Later publications of this book had additional Australian references in them.This hard covered book(cloth strengthened) is faded(aged) beige in colour and consists of 204 pages. It is printed in English (black print) on both sides and contains illustrations of both free hand sketches and photographs of plants, both foliage and roots systems. The book is arranged in three sections: three pages of preface, two of contents (28 chapters). The last four pages contain the appendix and index.On spine "BOTANY" underneath "R.H. YAPP" and at bottom the Cambridge coat of Arms and below this "CAMBRIDGE" The front cover "BOTANY" underneath this "A JUNIOR BOOK FOR SCHOOLS" and below this a an illustration of a four leaf petal(flower of Germander Speedwell) the same as appears on the cover of edition 2, however this book is edition 3. At the bottom is "R.H. YAPPschool, botany, text books, science experiments, nature

Keith Edwin Palmer V65246 enlisted in B Coy 38th Bn CMF on 17.3.1941 age 24years. Discharged rom the Army on 11.6.1945 with the rank of Sergeant. Certificate - paper, red and black print, illustrated in colour with scroll work, foliage, flags, King's Portrait. Shields of various countries and states and red seal. Damaged by water and dirt. Handwritten owner's name and signature on Certificate. Frame - timber, with gold colour stipple finish, many sections of paint missing. Glass front and cardboard backing. Sections of the certificate are adhered to the glass front.Handwritten in very faded black ink; "Sgt Keith Edwin Palmer/ 38th Battalion" "16th/ November/ 5/ E.E. Rochester" illegible signature. Certificate No. 55255.ww2, certificates, framed accessories

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The 60 photographs that comprise the series were issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘Crystal Brook, in the Cape Otway Ranges’ : Views of Victoria (General Series) No.53 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: 'The subject of the present illustration was discovered by one of our operators exploring the Cape in search of scenery. It is situated about four miles from the coast, and is surrounded by dense foliage on the one side, and rocky boulders on the other. This spot being unknown to the settlers, the title we have given to it is highly suggestive of such a romantic and secluded spot.'nicholas caire (1837-1918), landscape photography

Abstract depiction of a bird in trees. Trees are picked out in strong vertical strokes of white, grey, black and russet. Background and foliage is depicted in swirling blues and greens; the sky is grey at top of image. At top centre is a bird in blue and white. The paper is very think - almost like tissue paper and there are parts of the image that have cutouts (tearouts) as part of the depiction. Mounted in a cream matt in aluminium frame.Front: Monoprint and montage (lower left) (pencil). Back: Nancy Malseed (top centre) (pencil). 1990 (top right) (pencil) 1996 (top left) (pencil).abstract, female artist, female artists, women, malseed

Information printed on Certificate; "Young Workers/ Patriotic Guild. This is to Certify that/During the Great War/............../A Pupil of .............../School No. .............../ Qualified as an effect/ ive member/ ..............Minister/ ...............Director/ Headmaster 191.............../ED/ 1911" Certificate - paper, dark blue print with colour illustrations and decorative scroll work. three women at top, two children below certificate title, below all print foliage. Handwritten - owners name and signatures on Certificate. Certificate damaged by water and dust. Frame - timber, with decorative plaster of paris moulding, gold paint. Moulding damaged with many sections missing with glass front and cardboard back.Handwritten in black ink: “George Graham/Arnold's Bridge/1664/ HSW Lawsaw/ ? Tate/ W.M. J. Jackson/ 1917”framed certificate, ww1, education dept victoria, accessories.

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography, National Centre of Biography, Australian National UniversityAn original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen silver photograph mounted on board‘The subject of this illustration is situated in one of the wildest and most romantic places in the Gipps Land ranges, about midway between Mount Munday and Mount Juliet. The foliage in this locality is very luxuriant, comprising mostly Fern Trees which are interwoven with various descriptions of grasses and stunted Fern leaves. Beneath this mass of vegetation flows a branch of the Contentment Creek.’landscape photography - victoria, nicholas caire, ferngrove - victoria

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen silver photograph mounted on boardInscription on reverse: ‘In the distance among the foliage can be seen the New Bridge across the River Watt. Previous to its erection, the only means of crossing over to the township was across the fallen trees, which are of prodigious dimensions. The River, as may be seen, is very rapid, and, though shallow, it contains a great quantity of fish of a somewhat moderate size.’nicholas caire (1837-1918), landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The 60 photographs that comprise the series were issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.'Sylvan Dell, near Loutitt Bay’ : Views of Victoria (General Series) No.54 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘Sylvan Dell is one of the favourite resorts for visitors who are in search of the romantic. The peculiarly slender and upright foliage which is seen near the foreground is that of the myrtle tree. Dogwood, brush, staghorn, ferns, and wattle make up the background. Considerable difficulty is experienced in reaching the Dell, in consequence of the precipitous hills and dense scrub which surround it.’nicholas caire (1837-1918), lorne (vic), landscape photography

1979 - Mordialloc-Chelsea High School students standing in front of “Old Be-al” in Victoria’s Wyperfeld National Park, near Outlet Creek. It has been described as one of the most magnificent River Red Gums in the land. This glorious tree with foliage hanging to the ground escaped the fire of 1959 but not the fire of 1982 that damaged it badly. It lives on but has also suffered from lack of water and is now inaccessible to the public in a reference area. The MCAA has provided this image to the Friends of Wyperfeld National Park. Mordialloc-Chelsea High School students visited the Wyperfeld National park annually for the biology and geography Year 11 school camp.Example of a River Red Gum at Wyperfeld National Park.Digital image reproduced from colour slide.big desert fire 1959, mordialloc-chelsea high school camp, wyperfeld national park, fire 1982, old be-al river red gum

CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of four images of houses displayed in a vertical layout. The top image is a close view of a yellow wall, white door and green foliage. The next image shows a pink house with purple and yellow details, a white picket fence and several large trees. The third image is of a yellow house with a red roof, white wire fence and trees. The bottom image shows a pink brick house with brown roof.Front: 20/22 One Farm's History, Tyrendarra. Carmel Wallace 1984 Back: 48

Christmas Greeting Card: Embossed paper with white daisy like flowers and green foliage. Card opens at the centre and has gold print 'The giver's loving thought Longfellow' *A bright and happy Christmas to you from Eliza* is hand written in Ink. One side of the card is detached with wear. On the back is also hand written *To my Dear Alice with love & Kisses*. A Trade Mark and Publishers to Her Majesty The Queen. Box 625Raphael Tuck & Sons Ltd, London, Paris, New York. Designed at the Studios in England and Printed by the ''Rafouth'' Plates at the Fine Art Works in Saxony. Copyright.ephemera, mementoes, christmas cards, christmas greeting card

Sepia photograph mounted on backing card. Photograph is faded and depicts a street intersection with a tram running along the centre of the road. Buildings line the street and part of a fountain is on the right hand side. Foliage from a tree frames the shot. The words Mitchell Street Bendigo are printed along the bottom edge of the image. On reverse card is addressed to Miss I Dean McKenzie St Golden Square. Writing covers the left hand side.WSM Melbournepostcard

The Curator’s lodge, designed by the Town Surveyor, HV Champion, was constructed in 1907 following the re-organisation of the north-east corner with the demolition of the old curator's cottage and erection of new gates. Lee Heap Furniture Warehouse of Williamstown used the postcards to advertise. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day.A sepia image looking across a path bordered with rocks of a house (the Curators lodge) behind a fence. In front of the fence there is a young girl sitting on a rock with a young boy standing beside her. The house is timber with two brick chimneys, the right hand one half hidden by foliage. The house is federation style with timber battening above the front window. A timber frieze is above a verandah supported by three posts and light coloured brackets. Front: ‘Williamstown Gardens. Vic.’ ‘0457/1’ THE CROWN STUDIOS, SYDNEY’. Reverse: Centre top ‘POST CARD’ with a logo in the middle of the words. Left top corner a drawing of an artist’s board and brushes with a camera in the centre. Left side ‘MESSAGE ONLY.’ Right side ‘ADDRESS ONLY.’ Top right corner inside a dotted rectangle ‘STAMP HERE’. Bottom on card ‘BY THE CROWN STUDIOS, SYNDEY.’ Under the vertical line down the middle line ‘Neither the Address not the Message must cross this line’. In ink ‘With Compliments / from’. An oval stamp with scalloped rim ‘LEE HEAP FURNITURE MANUFACTURER’ inside inner oval ‘FURNITURE WAREHOUSE, / WILLIAMSTOWN’.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, curator’s lodge, children, federation style, crown studios, lee heap furniture warehouse