Art Collection Previously located in History HouseThe painting depicts the Portland Port from an aerial perspective. The perspective is taken from the ocean looking down across the Port and into the town of Portland. Within the foreground is the ocean beyond the Main Breakwater, the Main Breakwater and the Port. Within the Port nine large ships are docked and another is being brought into the Port by two tugboats. The background features a distant view of the town of Portland and the landscape beyond the township. The work has a white wooden frame and glass.Front: TROMPF (white paint, bottom right corner) Back: (no inscriptions)

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Christ Church Warrnambool – The image on this card shows Christ Church, a stone building built in 1856. The Anglican church is in Henna Street, Warrnambool. The church, outer buildings and grounds are heritage-listed. Its bell tower harbours German bells. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time, he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This card is the only one of the nine cards with the location of Warrnambool added to the name 'Joseph Series'. It is also the only one that has text within the outline for the postage stamp. The font used for the test of the headings is slightly different to the other cards. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool. This postcard of Christ Church Warrnambool is significant for its connection to the church. The early building of the church in 1856, within the first decade of Warrnambool being proclaimed a town, shows the strong religious desire of the community. The church is part of Warrnambool's life events and the historical significance of the building,Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image is a stone castle-top bell tower beside a church building flanked by trees. A stone fence is across the front, with pedestrian and vehicle white picket gates. The title is in red print on the front of the card. There is no correspondence written on the card. The reverse has inscriptions and outlines for a postage stamp. Jordan Series, printed in Great Britain.Front, in red: “CHRIST CHURCH, WARRNAMBOOL” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, christ church, bell tower, german bells, warrnambool church, religious building, stone building, anglican church, parish of warrnambool

Page 1 of Ray Pearson's photo album. Brown card page with two photographs (landscape format) placed on page using clear plastic photo corners. The top photo depicts a scrubber tram and the bottom a 'Jelbart Roller' tram at the Ballarat tram depot. The photo corner plastic is perishing and both photographs are loose on the page. A hand written inscription is written under the bottom photograph and inscriptions also appear on the back of both photos.Hand written inscription in biro at base of page, under bottom photograph: JELBART ROLLER BALLARAT DEPOT To back of loose photograph at top of page: In top left corner with an underline: 4 To centre: Front of Scrubber Tram / Ballarat Depot / 20th Aug 1971 / Sebastapol lyte Car To back of loose photograph at bottom of page: In top left corner with an underline: 6 To centre: Jelbart Roler SEC / Tram Depot Ballarat / 20th Aug 1971

Awabakal is the language of the Aboriginal people from the Newcastle, Lake Macquarie and Lower Hunter region of New South Wales in Australia. As Lenny takes his walk and collects insects, we learn some words that relate to the bush, to the landscape and the little creatures that would be found there. This book has been printed with sound, which can be heard through an Audio Reader. If you have an Audio Reader, run it over the pages to hear the sound.word lists, colour illustrationsawabakal, newcastle, lake macquarie, hunter region, juvenile literature

Has a strong association with the tours to mark the closure of the Ballarat Tramway system and Graeme Breydon.Edmondson pasteboard railway ticket, No. 34, dated 21 august 1971, for use on an ARHS / TMSV joint tour to Farewell Ballarat Trams - the first day of the closure of the system. Ticket base is light green, which is printed in landscape format. Notes as being "Available on the Special Train only" Adult - Economy. Ticket number in reverse printing. Ticket used by Graeme Breydon on the day of the tour. See History of the Object for further details.trams, tramways, arhs, tmsv, tickets, closure

The tin was made for Griffiths Bros who were Australian merchants of tea, coffee and cocoa. They had branches in Melbourne, Sydney, Brisbane and Adelaide. The tins when emptied became useful storage containers.A large rectangular Griffiths Bros Choice Tea Net 7lbs. 1834 - 1934, metal storage tin with a hinged lid. Victoria's Centenary 1934 -5 is printed on the top left corner of the label. The Griffiths Bros label is in yellow script on the front with other text related to the contents, as well as a Trade Mark "SIGNAL" illustration and text at the bottom right. The label is outlined in green and yellow edging with country landscape at the top and city views at the bottom. The tin has much information as noted above, as well as - 'Packed by Griffiths Bros Ltd 30 Flinders St. Melbourne.'food containers, tea, tea caddies, tins, containers

Book - 96 pages + card covers, 5 sections, perfect bound, A4 landscape full colour printed on gloss paper, titled "Melbourne's Marvellous Trams", looking at the history of Melbourne's tram, why, how, culture, economic and relationship to Melbourne and its residents. Contains a forward written by Keith Dunstan. Written by Dale Budd and Randall Wilson, published by University of New South Wales Press in 1998. Has a table of contenttrams, tramways, melbourne, tramways, tramcars, cable trams, history

Report - 18 landscape format - A4 pages + card covers, bound with a plastic binding on the left hand side. Titled "A tramway museum and Tourist Tramway for Melbourne". Prepared by Robert Green mid 1990's. Examines various aspects of establishing a Museum at the full site of the Hawthorn; Has a Introduction, preservation and tourism, world vintage tramcar operation, the TMSV, operation of the Museum and trams, establishment requirements, an imaginary visit to the Museum, conclusion and recommendation.trams, tramways, hawthorn, hawthorn tram depot, tmsv, museums

Book - 48 pages+ card cover + jacket, perfect bound, landscape format, "More trams and streetscapes Metropolitan Melbourne 1950s - 1960s", edited by Lindsay Crow, Colin Pike and John Sargent, published April 2002, featuring photos by Keith Atkinson, Graham Evans, Ron Lennard, Don McLean, Eric Quinlan, Michael Schrader and Jim Seletto. See Reg Item 4289 for the first in the series published Dec 2000.trams, tramways, melbourne, work trams, mmtb

Set of two full colour posters titled "Capital City Transport" for a 21 Feb. 2012 stamp issue featuring Australian transport, issued by Australia Post. Adelaide - Obahn bus Sydney - ferry Perth - electric train Melbourne - W7 tram 1015 Sydney - electric train. Has details of the stamp issue and the commemorative books. 788.1 - landscape poster 788.2 - large vertical format poster - two copies held.trams, tramways, stamps, australia post, adelaide, perth, sydney, melbourne, w7 class, tram 1015

A discussion of Australia's bland suburbs, and the rise in brick home-building, and the alternative of urban high-rise living. Alternative leisure lifestyles associated with each are outlined. Multi-storey flats, European migration, the unplanned ghettoisation of different groups are discussed. What are the needs for a new era of Australian housing? New initiatives are outlined.Original manuscript of the chapter titled 'The Neighbourhood' (pp32-43) by Robin Boyd in the book "Living and Partly Living", by Ian McKay, Robin Boyd, Hugh Stretton and John Mant, published by Nelson, Sydney 1971.Typewritten (c copy), pencil, quarto, 29 pagesChapter in a book.neighbourhood, neighborhood, suburbia, planning, conformity, brick home, timber home, flathouses, housing commission, european immigration, swinger hill, ian mackay, merchant builders, landscaping, robin boyd, manuscript

Taken in the 1960s, depicted are approximately twenty-nine male and female spectators at a school swimming carnival on Lake Sambell near the caravan park. Lake Sambell is a beautiful Victorian recreation lake and urban park with a unique history. It was created in the mid-1800s by the Rocky Mountain Mining company during the gold rush era and used as a mining site until the early 1900s, which brought Europeans into the area. It was turned into a reserve for residents in 1920 and is considered an icon of Beechworth as it represents the development of the community, human endeavour, and the spirit of the landscape. This photograph represents the post-gold rush era use of Lake Sambell as a recreational reserve. Swimming carnivals were held at the lake and considered a social event for the Beechworth community.Black and white reproduced rectangular photograph print on paper.Reverse: Community/ Swimming pool 1960s/ near the caravan park/ Lakes?lake swimming pool, lake swimming, beechworth carnival processions, carnival, #beechworth, beechworth 1960s, victoria

When Ballarat Junior Technical School's new building was opened in 1921, the surrounding area was rubble-strewn with raw clay slopes. The Head, A W Steane designed the landscaping of the slopes from the Gaol wall down to the Battery Paddock. The boys did much of the work. Apart from beautifying the grounds, this project occupied their leisure time, particularly as they had nowhere to play. The school acquired the gaol site in April 1969. The work of improving the grounds which was begun by A W Steane and his students is being carried on.Eight Form 1 boys from Ballarat Technical School planting trees at the old Ballarat Gaol terraces. Don Ogilvie is in the foreground. Peter Murley is planting watched by Frank McKenzie in the background. Boys from left: John Brown, Bradley Julius, Gary Green, Steven Ryan, Kim Hall, Peter Gross, Peter Rasmussen.Details of photograph written in pencil on back "Ballarat Courier Press Photograph - Copyright - " stamped on back.ballarat junior technical school, grant street garden, garden terrace, ballarat gaol, battery paddock, former ballarat gaol walls, don ogilvie, john brown, bradley julius, gary green, steven ryan, kim hall, peter gross, peter rasmussen., peter murley, frank mckenzie, ballarat technical school

'Close Knit' was conceived based around providing the high density accommodation of the area with what many residents will never experience; the iconic ‘Aussie’ backyard, symbolised by washing on a Hills Hoist. This concept was transposed into several elements, including two large flying jumper sculptures. These stainless steel and fibreglass structures are supported on slanted poles, reminiscent of Hills Hoist arms. The jumpers appear to catch the breeze, and billow up, like washing on the clothesline on a sunny day, and cast lovely shadows across the paths and gardens. They are bright and joyful reminders of simple homespun joys. The handcraft theme is also featured in knitted concrete garden walls throughout the gardens. As if the wind is captured in the movement of the Hellenistic drapery, these panels echo the Lady of Justice, an earlier work of mine on the Victorian County Court. These feature walls bring a softness to the park and hark back to classic European garden design. There are 6 finial/balls of wool marking gateways and entrances to the park, as well as a couple randomly scattered throughout to be discovered. There is also a draped plinth at the Peel street entrance which has my signature. Again these elements echo traditional garden design and are a tactile and recognizable link to the hand knit themes of the park. Given the strong themes of domesticity and handcrafts, I have titled my work ‘Close Knit’, as it applies to the purpose of this public space as well as the works scattered throughout. Yarra City Council delivered Cambridge Street Reserve in partnership with the Victorian Government, who have supported the project with $1.3m funding. Yarra City Council has invested a further $731,130 towards the project. Urban Imitative Landscape Design worked with artist William Eicholtz at the beginning of the design process to consider the needs of a growing high-density population of the area. At double the size, with extensive park seating and a large lawn space which is shaded by native trees, Cambridge Street Reserve is now the largest park in Collingwood. 'Close Knit' by William EicholtzTwo knitted fibreglass 'jumpers' over stainless steel framework; six concrete balls of wool throughout the park; 25 metres of cast (drapery) concrete walls; concrete plinth at Peel street entry which is draped with a concrete knit and a ball of wool on top as finial; reverse rope reliefs on the front façade of eastern stairs. Artist name and date 'William Eicholtz 2023' inscribed on plinth with ball of wool on top as finial. handcrafts, domesticity, aussie icons, european garden design, public space, high density accomodation

A typical Olsen painting combines an implied aerial view with an ambiguous and seemingly unpremeditated figuration. His characteristically quizzical line and irregular squiggles and dots deftly render countless organisms, large and minute. Their environment is conjured through loosely brushed and stained expanses of colour (on canvas or hardboard) and lines which sometimes read as geological mappings. In Olsen's work there is no foreground/ middle ground/ background, nor any sign of European landscape's concern with "human scale." Instead he employs simultaneously the contrary vantages of naturalist and geographer. 'Tropical Rain Shower' by John Olsen forms one of the eight artworks represented in the Bodford Terrace Suite. Eight of Australia's finest artists were brought together to create a folio of lithographic prints to celebrate the restoration of historic Bodford Terrace. Printed at the Druckma Press by John Robinson under the supervision of master printer Jock Abbott. The folio edition was limited to 300 signed and numbered folios. The lithographs were printed on special heavy weight french Arche's paper in accordance with the tradition of this artistic medium. Lithographic print on paper.Signed John Olsen '78, lower right hand corner. Edition 179/300bodfford terrace collection, john olsen, tropical rain shower

Julie MULLEN This work was completed during Julie Mullen's 3rd year studying Ceramics at Ballarat University College (now Federation University). The work was awarded the 1992 Selkirk Prize. The artist wrote the following in the #rd Year Final Exhibition Catalogue: "My first love is clay And together with my inspiration Drawn from the landscape, Sea and human gure, I am able to create. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Terracotta handbuilt form with applied marine inspired objects. art, artwork, mullen, julie mullen, ceramics, selkirk prize, ballarat univesity college, available, available ceramics

Charles Platt was born in New York in 1861 and died in 1933. He studied art at the National Academy of Design. In 1880, Charles went to Paris to study landscape painting and, while there, he travelled to Italy with his brother. Though he was influenced by Italian detailing, his designs were not copies of Italian gardens He was known as an architect and illustrator not as a garden designer. In 1880, he trained as an etcher with Stephen Parrish in Gloucester, Massachusetts. He also trained at the National Academy of Design and the Art Students League in New York and later in Paris with Gustave Boulanger and Jules Joseph Lefebvre at the Académie Julian. Charles exhibited his paintings and etchings and gained his first audience in Paris Salon of 1885. Betweem 1880 – 1890 , he made hundreds of etchings of architecture and landscapes. In 1900, Charles received a bronze medal at the Paris Exposition Universelle. In 1907 he designed a townhouse for Sara Delano Roosevelt on East 65th Street in New York. Eleanor Roosevelt called Charles A. Platt "an architect of great taste" who with the townhouse had "made the most of every inch of space." and in 1918, he de­si­gned the Freer Art Gal­lery in Wa­shing­ton. Book, Hard brown Cover. Title on the spine "The work of Charles A. Platt". Manufactural details on spine. Page no. 181. Black & white plates and plans. Stamped on page 43, 93, 123, 135, 161, 171"Picton Hopkins & Sons PTY.LTD"architecture design, domestic architecture, designs and plans, landscape gardening

Bob Kelly paints landscapes of culturally significant sites along the Mornington Peninsula and depicts these locations as he imagines they originally were before colonisation. Using traditional Western painting techniques, Kelly records the underlying spirit of the Peninsula from a Wathaurong perspective. Chinaman’s Creek in Capel Sound (Rosebud West) was an important watercourse that originally ran from Wonga (Arthur’s Seat) down through Tootgarook Swamp into Port Phillip Bay. It was a great fresh water and food source and home for many Boonwurrung people. Since settlement over 170 years ago, the creek has been drained, blocked, reconstructed and damaged. Kelly depicts a lush green landscape in which the clean creek water winds through the surrounding vegetation of spinifex grasses and gum trees, the background hills are abundant with trees, untouched from man's intervention. Using painstaking detail, Kelly records each blade of grass and ripple on the surface of Chinaman’s Creek. His attention to detail serves to powerfully reimagine this important cultural site, returning it to its former pristine state, and reinvigorating its role as a key place of sustenance for the Indigenous populations of the Peninsula. Chinaman's Creek was a finalist in the 2017 Bayside Acquisitive Art Prize.oil and acrylic on canvaslandscape, creek, trees, chinaman's creek, painting, indigenous, robert kelly, bayside acquisitive art prize, bob kelly, wathaurong, rosebud, arthur's seat, tootgarook swamp, port phillip bay, boonwurrung

Photograph of five men and five women, all young with a bush landscape in the background. The men are all dressed in formal suits with ties or bow ties, the women are all in long dresses and pretty hats. Written on the side of the photo in biro is: California Hill picnic 1900, held at Bridgewater. On the reverse in biro is:'S. Hercus 'Hiltondale?' 63 Mt. Korong Rd. California Gully, also printed on the reverse is : R. Dermer Smith, Photographer Bull St. BendigoR. Dermer Smith, Bull St. Bendigoperson, group, picnic group, california hill picnic 1901, r. dermer smith, bull st. bendigo, s. hercus 63 mt. korong rd. california gully

(1) Coloured plan, Concepts for discussion by Phil Tulk 27.11.97. (2) As above dated 15.5.98. (3) Coloured rough plan. (4) 1 tracing paper, 1 coloured paper copy and 2 copies, Burnley College Car Park Re-development and Entry by Jill Kellow. (5) Notes for discussion. (6) Site Plan VCAH Carpark Landscape Graphics Assignment No 1 by Ken Wallace, March 1993. Scale 1:100.jill kellow, phil tulk, ken wallace, vcah

Photographs taken at the time of the purchase by Western Mining Corporation of the property owned by G.P. Daly of Raywood Road, Woodvale, in 1986. The intent of the purchase was to provide land for the Woodvale ponds. Land size was 16 acres, known as Allotment 13, Section 3, Parish of Nerring. Paper with two colour photographs attached, each of three photos joined to show landscape view, of the property purchased from G.P Daly by Western Mining Corporation. Photographs show rural land, grassy paddocks with tree line in background. Barb wire fence visible in foreground of bottom photo. Top photograph is titled 23. Daly property looking south-east. Bottom photograph is titled 24. Daly property looking north east. woodvale, g.p. daly, western mining corporation, purchase