Page 7 of Ray Pearson's Photo Album. Brown card page with two photographs (landscape format) placed on page using clear plastic photo corners. Both photographs depict trams around Bendigo. A hand written inscription is located between the two photographs. The brown paper is indented with text written on the facing page and also has minor damage in two places (top and bottom right) that looks like places where adhesive photocorners have been removed.Hand written inscription in biro between top and bottom photograph: BENDIGO / CALIFORNIA GULLEY 4/3/72bendigo tramways, vintage trams, bendigo tram, california gulley

Black and white photo: landscape view of Bendigo valley looking towards One Tree Hill in distance. Great Extended Hustlers timber mine buildings, chimney and poppet head in foreground, trees middle ground, One Tree Hill in background. On back 'Mng10' In pencil - 'Great Extended Hustlers Freehold looking south, Moore St., just north of mine'. James Lerk ' From Hustlers Hill looking over Bendigo to One Tree Hill' late 19C, early 20C ?bendigo, gold mining, great extended hustlers, great extended hustlers mine, mining, one tree hill, camp hill primary school

Rick Amor was a good friend of three times Archibald Prize winner Clifton Pugh, living and working at Pugh's artist colony Dunmoochin, (Cottles Bridge) during the 1980-1990s. Amor made frequent outdoor painting trips with Pugh. His studies of Williamstown and areas around the port fuelled a period of sustained painting in his studio at Dunmoochin. Amor is an artist of national significance who had lived locally in Dunmoochin (Cottles Bridge) during the time of this work's making. This painting was exhibited/entered into the 1993 Shire of Eltham Art Awards. The work is representative of Amor's style and interest in seascapes as subject matter. Oil on linen, seascape painting. A solitary and motionless male figure in an overcoat stands at the edge of a dock/jetty with his hands in his pockets looking out to sea with his back towards the viewer. A motorised boat is moored close by and a white house with a blue roof can be seen in the distance. The figure is engulfed by the landscape and a resounding sense of desolation. A storm is brewing; the mood forecast by dark, heavy and thick ominous clouds, alternately darkening with the approach of night, a polluted haze and rough seas. In red paint, lower right, signed 'RICK AMOR '93'amor, seascape, painting, personal, boat, dramatic, atmospheric, ekphrasis 2015, dunmoochin

12 page colouring book, with heavy card covers, titled "The Adventures of Tram 109", with illustrations by Warwick Hook, published at the time of the opening to Box Hill of route 109 from Mont Albert. Published jointly by Alstom and Yarra Trams. Features 10 pages of landscape size cartoons each featuring a single story line and a four panel cartoon, with a title and Harry the construction worker panel at the ends. Has Yarra trams logo and web site on the rear cover.tram, trams, box hill, yarra trams, route 109

Has a strong association with the tours to mark the closure of the Bendigo Tramway system and Graeme Breydon.Edmondson pasteboard railway ticket, No. 0085, dated 12 Feb. 1972, for use on an ARHS tour to Farewell Bendigo prior to the closure of the system. Ticket base is pink with a thick purple stripe, which is printed in landscape format. Ticket number in reverse. Adult - Economy, available on the day of travel only and on the special train. On the rear of the ticket is the reserved seat and carriage number. Ticket used by Graeme Breydon on the day of the tour. See History of the Object for further details. Two copies held. trams, tramways, arhs, tmsv, tickets, closure

The Yarra Scenic Boulevard stretching from Hawthorn to the Chandler Highway was completed as a major project between 1933 and 1936 during a period of significant unemployment. Key dates in the construction this section the road include: 1933 when Kew Council supported the construction of the road from Studley Park to the Kew Asylum; and 1936 when the road from the Johnston Street Bridge to the Chandler Highway was opened. The inscription on the reverse of the photo 'Boulevard Fairfield' is misleading as there is no section of the Boulevard in Fairfield. A more likely interpretation is that it is a photograph of the Kew section of the Yarra Boulevard with the factories of Fairfield in the distance.Rare early photograph of the Yarra Boulevard, taken one year after the opening of the road. The photograph is an important historical record of the results of 'Susso' labor in the creation of major works in Melbourne by the Victorian Government. Original, black and white positive print of the Boulevard at Kew in 1937. Key aspects to note about the photograph is that the road is bituminised; that the gutters are concreted; that the kerb is constructed of concrete blocks; and that there is an unmade footpath on what appears to be the right hand side of the road. The landscape is sparsely treed, and those trees that remain are presumably remnant vegetation. At the right, the land is fenced. The land at the left falls away sharply to the river below. On the horizon, at left, there is an industrial complex including a tall chimney that is burning fuel creating smoke. "Boulevard Fairfield" great depression, susso projects, roads -- kew (vic.), yarra boulevard, yarra valley

Taken in late Spring. Negatives. Also extra copies in spares.(1) Administration Building. (2) Trees. (3,4) Celebration with cake. Peter Esdale 4th from left standing, Joss Tonkin (Archivist) far right standing. (5-8) Renovating Luffmann Ponds, Paula Cave, Gardener. (9) Dairy before being renovated for Centenary, known as Landscape Shed. (10) Michael Nechwatel, Handyman clearing out Dairy prior to renovation. (11-14) Renovating Dairy.administration building, trees, celebration, cake, peter esdale, joss tonkin, archivist, renovations, luffmann ponds, paula cave, gardener, dairy, centenary, landscape shed, michael nechwatel, handyman, c

Report - Foolscap landscape format, red tape binding - approx. 30 pages with notes, diagrams, charts, maps showing passenger traffic for parts of each route. Titled "Section to Section trips compiled from information obtained by the Melbourne Metropolitan Transportation Study 1964 Card survey from tram and bus routes based on the Central Business area of Melbourne". Dated 3/1967. Contains a large fold out map of each route showing passenger numbers for the day.In top right hand corner "Lees" in inktrams, tramways, mmtb, tramways, melbourne, surveys, passengers, maps

Large black and white photograph mounted on heavy cardboard showing a very large conifer being replanted by a number of people. The original photograph is held at the Melbourne Herbarium and the information provided by them is that, "This photograph was taken after William Guilfoyle became Director of the Royal Botanic Gardens, succeeding Baron von Mueller. Many of the collection of conifers were moved from straight lines to give a more aesthetic appearance, as Guilfoyle was trained in the tradition of the 18th Century English landscape design."conifers, melbourne herbarium, william guilfoyle, director, royal botanic gardens, ferdinand von mueller, trees, landscape design, botanic gardens, replanting trees

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 17 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. This photograph, dating from c.1926, forms part of a group of photos preceding images of [Black] Spur, so the photographs may have been taken as part of that bushwalking trip. John Chapman has written in 'Bushwalking Clubs - A Brief History', about the establishment in Victoria of the first bushwalking club in 1888, and the popularisation of bushwalking during the interwar period. Henry Christian's 'walks' appear to have been undertaken solely or with a companion/s. This camera shot invites the viewer to access the landscape through the point-of-view of the man standing with his back to the camera at the edge of the road. The man holds leaves in his left hand [to deter insects], and has a knapsack on his back. The landscape in the distance includes both cleared land for farming and remnant vegetation. The oval framing device was used when Henry Christian developed the photo.Illegible ink inscription on pagehenry beater christian (1886-1962), landscape photography, kew (vic.) — yarra river, christian-washfold collection, photograph albums, bushwalking -- victoria

ARTIST WALTER WITHEBS, whose pictures are now on exhibition at his Melbourne studio on Wednesdays and Saturdays, is an Englishman by birth, but an ardent Australian by adoption. His landscapes are "racy of the soil,” and amongst the most successful work of the kind done by Victorian artists. Withers does most of his work at his Heidelberg home, where he leads a serene life of artistic simplicity amidst the most picturesque surroundings. PEOPLE WE KNOW (1897, June 17). Melbourne Punch (Vic. : 1855 - 1900), p. 2. Retrieved August 22, 2023, from http://nla.gov.au/nla.news-article174626232Journal inscribed: "Mrs Withers 463 Collins St. West Melbourne"art exhibition, art review, john withers collection, melbourne, walter withers studio, 463 collins street west, walter herbert withers, artist

It’s hard to believe, as look at Alistair Knox Park, that this whole area was a tip in the 1960s. Although now valued as a natural attraction, the hills and lake are human made, with the hills built on mounds of rubbish. School children planted many of the trees. Many of the large eucalypt trees are remanent of the original bushland. The park has a National Trust Landscape Classification. It was close to this location that the Eltham Obelsik was originally located in 1919 and had to be relocated when roadworks were undertaken to widen the intersection. The park is named for Knox who was a local designer, builder and advocate for an alternative lifestyle, best known for use of mudbricks. Tomorrow's history documented todayeltham, jim connor collection, main road, eltham gateway, alistair knox park

Pioneer Reserve, Greensborough is a small park on the corner of St Helena and Diamond Creek Roads. It is adjacent to the site of Greensborough's first bridge across the Plenty River, c. 1864 - 1960s. The shelter, viewing platform, retaining wall and entrance are built from the bridge's massive bluestone arched abutments dismantled between 1974 and 1983. Pioneer Reserve is historically significant for its formative association with noted local landscape designer Gordon Ford in 1968, and it is likely that remnant large field stones at the entrance drive to the Reserve remain from his design. Photograph by Marilyn Smith 2014.Digital copy of colour photograph.

This framed watercolour was created by 20th-century landscape painter Harold Morse Ward. He was born in Brooklyn New York in 1889 and died in Sacramento, California, in 1973. Ward graduated from the Pratt Institute in Brooklyn and furthered his studies in Paris. He was a high school art teacher for many years, later establishing the art department at the Sacramento Junior College in 1923. In 1949 he won a Carnegie Grant for further research in fine arts. He wrote and illustrated the book ‘The Thing Called Art’. His subjects were often taken from the Sacramento area.This is the only example of artwork by early-to-mid 20th-century recognised artist H M Ward in our collection. It is representative of the artwork displayed in homes during that era. Harold Morse Ward received a Carnegie Grant for research in art. He was a descendant of the inventor of the telegraph, Samuel Morse.Painting; the timber framed watercolour painting behind glass depicts a cottage on a hill beside a winding creek with trees and bushes. Artist is H M Ward. Signed "H M Ward"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, watercolour, landscape, h m ward, harold morse ward, 20th century art, sacramento artist, the things called art

Wooden shoes are / have been widely used in North-Western Europe (Scandinavia, parts of Germany, UK, The Netherlands, Belgium and Northern France). The models vary from a wooden sole and toe covering (Scandinavia, UK, Northern France) to a complete cover of the whole foot (The Netherlands and parts of Belgium). They are mostly made from poplar wood, but occasionally also from other softwoods like willow. The clogs' finish varies from plain wood or carved wood to varnished or painted versions, often with decorations. Nowadays special models are made for tourists with pictures of Dutch landscapes, tulips or windmills.Although wooden shoes are also used in other countries, the full foot covering model has become one of the symbols of the Netherlands, like the tulips and the old style houses in towns like Amsterdam.Pair of male size wooden clogs - completely covering feet, finished with clear varnish and shoe lace like decorations.Brand indication V Z clog and size 43/44 = 28 1/2cm - Shoe laces like decorations.wooden shoes holland dutch traditional clothing

The Koori Mural was designed by artist Megan Evans in consultation with a committee from the Aborigines Advancement League consisting of the late Lin Onus, the late Molly Dyer, the late Ron Johnson and the late Elizabeth Hoffman. It was painted by Evans and renowned Aboriginal artist Ray Thomas along with Ian Johnson, Millie Yarram, Les Griggs, Elaine Trott and a number of volunteers. The mural has considerable historical and cultural significance and refers to the experiences of the the Aboriginal and Torres Strait Islander communities, from early colonial history to the more recent struggle for social justice. In 2014 the mural was replicated onto a vinyl banner and installed at its current site. The Northcote Koori Mural was originally located on Council land in High Street, Northcote, opposite the Northcote Town Hall. A huge, free-standing wall was built specifically to accommodate the mural which was painted on site. The land on which the mural was housed was later sold, however, and the mural was relocated to the Aborigines Advancement League in St. Georges Road, Thornbury. Conservation work in 2014 and original panels decommissioned and vinyl banner hung in its place (with Total Outdoor Media). In 2015 solar lights were installed along with landscaping to the front of the mural and a plaque depicting the history on the mural.

John MITCHELL (1837 - 14 July 1926) Born Woodside, Donside, Scotland John Mitchell attended evening classes under James Giles in Aberdeen, and was also taught by his uncle the Peterhead artist John Mitchell. After an apprenticeship at a local lithographic company (Keith and Gibb) John Mitchell went to London to study at the Slade under Legros. Returning to Aberdeen he painted many scenes around the city and Aberdeenshire, including Balmoral, under the patronage of Queen Victoria. John Mitchell gave lessons in painting to the Royal Family. His landscapes are highly coloured with dominant blues and purples in the hills and with vivid greens and yellows in the foreground, subtly fused and never garish. He lithographed sketches for John Stewart's 'The Sculptured Stones of Scotland', 2 vols 1856-57, illustrated 'Under Lochnagar' 1894. His landscapes of Aberdeenshire are highly prized especially in the area in which he lived. His painting in the Mearns is regarded by some as his best work. In 1875 he painted an interior of Culter Castle and its Chapel which was subsequently purchased by the owner and in 1883 showed a portrait of his mother. Lived latterly at 10 Gladstone Place, Queen's Cross, Aberdeen. 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.Framed watercolour of a Scottish Scene by John Mitchellart, artwork, john mitchell, mitchell, scotland, scottish, art, artwork, john mitchell, mitchell, scotland, scottish

John MITCHELL (1837 - 14 July 1926) Born Woodside, Donside, Scotland John Mitchell attended evening classes under James Giles in Aberdeen, and was also taught by his uncle the Peterhead artist John Mitchell. After an apprenticeship at a local lithographic company (Keith and Gibb) John Mitchell went to London to study at the Slade under Legros. Returning to Aberdeen he painted many scenes around the city and Aberdeenshire, including Balmoral, under the patronage of Queen Victoria. John Mitchell gave lessons in painting to the Royal Family. His landscapes are highly coloured with dominant blues and purples in the hills and with vivid greens and yellows in the foreground, subtly fused and never garish. He lithographed sketches for John Stewart's 'The Sculptured Stones of Scotland', 2 vols 1856-57, illustrated 'Under Lochnagar' 1894. His landscapes of Aberdeenshire are highly prized especially in the area in which he lived. His painting in the Mearns is regarded by some as his best work. In 1875 he painted an interior of Culter Castle and its Chapel which was subsequently purchased by the owner and in 1883 showed a portrait of his mother. Lived latterly at 10 Gladstone Place, Queen's Cross, Aberdeen. 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.Framed watercolour of a creek in Scotland.art, artwork, art, artwork, john mitchell, mitchell, scotland, scottish

[see inscriptions] Black and white mounted photograph. Approximately 160 men (171 according to inscription on the back) sitting on large tables at a formal dinner event; all weatinh suits and posing for photograph. Photo was taken in a large rooom with a stage, Malvern Town Hall accoring to inscriptions on the back - tables occupy centre and front of photograph - but in the background: [left] Australia flag, WWII poster; [center] stage with painted landscape and piano; [right] WWII poster and Britain flag. [information of event on newspaper cutting stuck on the back - as described on Inscriptions]Handwritten: 171 PRESENT // FEB 1945 // (?) OFF SUPT KNOTT // INSPT SAMBLEBE // CONST GRAMBEU /// MALVERN TOWN HALL Newspaper cutting glued to frame: Supt. J. R. H. Knott, has rettired from the Police Force after 38 and half years' service, was farewelled by citizens and police officials at Malvern Town Hall on Tuesday night, The mayor of Malvern (Cr. J. Johnson) presided and presented SUpt. Knott with a chair and a wallet of notes. Similar presentations were made to Inspector C.H.D. Samblebe and First Constable O. Grambau, who have also retired. Supt. A.D. McKinnon of Ballarat will succeed Supt. Knott // handwritten: SUN 1/2/45victoria police museum, police officers, police academy, police force, superintendent mckinnon, superintendent knott, cr johnson, inspector samblebe, first constable grambau, poulter, william

Double Sided Newspaper Clippings on the history of The Shamrock Hotel in Bendigo, Victoria Australia. (Front of first clipping) the ground floor foyer in all of its late Victorian splendour. (Back of first clipping) the fanlight above the french doors opening out on to the first floor balcony. The delicate leadlight frames a circular river landscape painted on the glass. (Front of second clipping) the Shamrock Hotel Balcony where in October 1874 Mademoiselle de Murska performed The Last Rose of Summer to a rapt crowd of 10,000.bendigo, history, shamrock hotel

Ticket used for passengers on the Australian Railway Historical Society (Vic. Div.) tour to Ballarat and Ballarat trams on 25 Feb. 1967. Number "0189", printed on Edmondson pasteboard card, with the name "Australian Railway Historical Society" and ticket number pre printed, and the words "BALLARAT TRAM TOUR 25-2-67", stamped in black ink using a hand stamp. Card is off white with two light blue vertical stripes on both sides. Ticket printed in landscape format. See image for details.trams, tramways, tickets, arhs, tours

Has a strong association with the 1980 Melbourne Pageant, and the involvement of the Bus and Coach Society of Victoria in the event. Various papers giving programme detailsEvent materials associated with the 1980 Australia Day Pageant, Melbourne, 28 January 1980. .1 - Guide to all motor vehicles, including buses of the Bus and Coach Society of Victoria - fourteen duplicated pages, stapled within a printed card cover - landscape format. Centre pages has a map of the Fitzroy and Treasury Gardens. .2 - Programme of events for the period 21st Jan to Monday 28th giving details of displays throughout the Melbourne CBD area. Printed quarto sheet on art paper, folded into three vertically.trams, tramways, bcsv, melbourne, australia day

Three page hand written list titled "M&MTB Rolling Stock Data - 1/10/38 with additions:- bringing data up to 27/4/1940" , listing each class, car numbers, number in service, type, seating capacity - seats, crush, truck, wheelbase, motors, Horsepower, Tare Tons, Controllers, Compressors and Length over bumpers. Author lined foolscap paper in landscape format, carbon copy Extends to SW5 889, includes cable trams. Author unknown, written in CapitalsIndividual captions for each photo.mmtb, tramcars, melbourne, lists

The Kew Historical Society's map collection includes a substantial number of real estate subdivision plans, mainly of Kew but also of surrounding suburbs in Melbourne. Most of the subdivision plans date from the 1920s and 1930s when the districts old homes and local farmland were being split up to accommodate residential growth in the postwar period. These early plans were assembled by a local firm, Jas R Mather & McMillan, which had an office in Cotham Road. Many of the plans, and sometimes photos, were annotated by the agents.Subdivision plans are historically important documents used as evidence for the growth of suburbs in Australia. They frequently provide information about when the land was sold as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.The photograph may also be aesthetically significant depending on the importance of the photographic atelier.On the reverse of a subdivision plan of the Palmyra Estate (Kew) is a photograph of a double-fronted Edwardian villa. The weatherboard and stucco house with high brick chimneys provides a clear indication of the style of curtains and gardens in houses of the period. Holland blinds with lace inserts are used in the left front window. They are combined with long lace curtains. The garden, with its curved pathway is bordered with garden beds that include marguerite daisies and roses. Reflecting a new interest in the Australian landscape, tree ferns and ground ferns are planted closer to the house.houses - kew, architecture - edwardian, real estate photographs

Elwyn (Jack) LYNN (6 November 1917 – 22 January 1997) Born Canowindra, New South Wales Sydney based artist Elwyn Lynn was a self-taught artist who often used unconventional painting media and expressive surfaces to create abstract work. He trained as a teacher, and was a teacher of English and History in Sydney Secondary schools until 1968. From 1969 to 1983 Elwynn Lynn was Curator of the Power Gallery of Contemporary Art at Sydney University where he built up an international collection, which is now within the Sydney Museum of Contemporary Art. He was an art critic at The Australian for many years, and wrote several books, including one on the artist Sir Sidney Nolan. Elwyn Lynn was awarded Membership of the Order of Australia in 1975. He won the Wynne Prize at the Art Gallery of NSW in 1988, received an Honorary Doctor of Letters from the University of Sydney in 1969, and received the Emeritus Award from the Australia Council in 1994. 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.Framed mixed media artwork. Like most of Elwyn Lynn's work 'The' is essentially abstract, although evoking a sense of landscape. " Lynn’s heavy textures were created by mixing polyvinyl acetate (PVA) with sand, cement or plaster, after which it was left to dry in the sun or near a radiator. With the upper level drying and hardening first, its skin could be cut, sliced, poked, prodded and distressed, pushed into folds and corrugations." (https://www.charlesnodrumgallery.com.au/artists/elwyn-lynn/elwyn-lynn/, accessed 22 October 2019)art, artwork, elwyn lynn, abstract, available

Book - 80 pages, A4 landscape format pages including card covers, full colour printing on gloss paper, titled "Destination Waterfront City" written by Randal Wilson and Dale Budd of 2014. Covers Melbourne tram history including cable trams, early electric trams, trams in art, historic fleet, colour schemes, tram types, depots, ticket machines, maps, principally looking at the then current Melbourne fleet. Includes notes on the authors. Has a photo of E6003 on the front cover.trams, tramways, melbourne, tramways, history, e class

Painted by Sue JarvisFramed oil painting featuring a Buckland Valley landscape. Titled: "Valley" painted by Sue Jarvis. Brown wood frame. Signed by the artist lower right corner. Painting of a view of a valley with a tree on the left hand lower corner and hills in the distance. Painted predominately in shades of blues and greens. Framed in a gold frame. Note: Item approved for deaccession August 2023. SGSC will now follow deaccession procedures as outlined in the Arts and Civic Memorabilia Collection Policy - https://www.southgippsland.vic.gov.au/downloads/file/2763/arts_and_artefacts_collection_policy_c69. Signed by the artist lower right corner