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Whitehorse Historical Society Inc.
Equipment - Camera, c1915
Camera was originally owned by the owners grandfather and used by him at home and overseas. Later given to his son (donors farther)Brownie Autographic Folding No.2 Camera. Uses 120 roll film. Has a steel inscribing pin for writing on film through window on back of camera to record details. Has a ball bearing shutter - patented in USA, Jan 18, 1910 - Jan 7, 1913. Bellows folds back into camera and can be adjusted to 8,25, or 100 feet from object. Viewfinder can be varied from portrait to landscape view. It has a leather handle - film loaded by opening clip on lower front. Leather carrying case with name of original owner -G.H.Parsons, Melbourne, Victoria, Australia.photography, cameras -
Melbourne Tram Museum
Document - Report, Public Transport Corporation (PTC), "Tram and Bus - All Tram and Bus Depots - Service Delivery Reports", late 1992
Report - set of 10 A4 landscape sheets stapled in the top right hand corner providing tram and bus reporting for the three months commencing Sept. 1992. 1 - service delivery by percent, buses, trams and average - vehicles crewed out of depot 2 - on time running weekdays - tram routes 3 - ditto - government bus routes 4 - complaints 5 - platform staff ratio 6 - platform staff ratio to other 7 - cost per kilometre 8 - priority absenteeism 9 - new workcare claims 10 - kilometres per accident / incident - 1991/1992trams, tramways, accidents, reports, statistics, trams, buses, ptc -
Surrey Hills Historical Society Collection
Photograph, Bonfire, Beckett Park, Balwyn, c1937/8, 1937
The bonfire at Beckett Park was the culmination of the EMPIRE DAY/CELEBRATIONS in Surrey Hills in 1935 and 1936. In 1937 vandals lit the fire prematurely but residents hastily rebuilt it - about/100 tons including old tyres. A volunteer fire-watcher had his caravan close by until lights-up time on Saturday night. From glass negative taken by Ian Barkla's father, Frank Leslie Barkla of 37 Grovedale Road, who was a keen photographer and a member of the Melbourne Camera Club.Image depicting the building of a large bonfire made primarily from rubber tyres, supported by a wooden frame c1937/8. There is a significant crowd of people watching the erection of the pyre from ground level. Several members of the crowd are seated or holding bicycles. There are multiple persons situated on the pyre or on a ladder propped up against the mound of tyres. The area containing the pyre has been fenced off with rope (?). A young boy in the image (second from left with bike) has been identified as Alex Walker.Black and white, W 25.3 cm x H 20.4 cm, landscapeparks and reserves, 1937, beckett park, bicycles, crowds, empire day, bonfires, alex walker, frank leslie barkla -
Kiewa Valley Historical Society
Postcard Circa 1950, Mt. Beauty Village, Kiewa Hydro-Electricity Project, circa 1950
This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment. The regulatory pondage on the northern aspect of the village had no water over-spill from the unfinished power station.This rural region in 1950 (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap. The couple shown in this photograph would have been employed by the S.E.C. under the Kiewa Hydro-Electricity Scheme.This item is a scanned black and white photograph of a panoramic view of Mount Beauty Village in 1950 (a closed village, entry by pass only). The regulatory pondage has earthen walls but no water.See 0480 (A) -(D) and (F) for other photos of similar postcards"MT. BEAUTY VILLAGE KIEWA HYDRO-ELECTRIC PROJECT"kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth -
Kiewa Valley Historical Society
Photograph of Kiewa Valley Panorama, Farming lands within the Kiewa Valley in1950s, Circa 1950
This photograph shows how (early to mid1900s), before the establishment of the Mount Beauty "gated" village, the Kiewa Valley was farmed and the scarce population was spread out over acres of productive land. This photograph catches a time before (what appeared to the local farmers as the invasion by a mass of construction workers) when this remote valley was part of a "lay back" rural landscape,occasionally visited by friends and some wayward tourists. The mountain ranges provided an adequate barrier against the way-would traveller. The immigration numbers coming into Australia was still quite small ( due to the "white" Australia policy) which was in force before World War II. After World War II a mass of displaced European refugees and migrants boosted the Australian population and provided for a greater degree of diverse professions and rural related work force.This photograph depicts the borderline in time between an exclusively rural based population and respective activities(early 1900s)to the present (2000 on wards) integrated village, tourist and retiree/holiday area. The time when land was exclusively used in agriculture is over and the impact of cheaper rural produce from Asian markets will see a shift of land useage and population activities. The Kiewa Valley is loosing its hiding place and is becoming more and more a source of untapped residential land. Black and white photograph of farming/grazing land useage, before the establishment of the Mount Beauty Village. Small pockets of residentual houses can be viewed. Road access (unsealed dirt) was typical of that provided in rural regions in the 1950s. The photo is on 200gms paper and not on photographic paper.kiewa valley in the early1900s, grazing in the kiewa valley, sec victoria -
Warrnambool and District Historical Society Inc.
Artefact, China Plate, 1922 (painting)
This plate was painted by J.J. Forrester in 1922. John James Forrester, the son of John Lamb Forrester and Maria Hexter, was an architect in Warrnambool in the early 20th century. He had an office in Kepler Street (1910) and in Koroit Street (1916). He lived in the house in Liebig Street that was formerly the first Savings Bank and was erected in 1860 (7A Liebig Street today). Forrester was a staunch member of the Presbyterian Church and was the co-architect for the re-building of the interior of St. John’s Presbyterian Church in Warrnambool after it was destroyed by fire in 1920. John Forrester was also a noted artist of his time and several of his works of art have survived. A landscape by him is in the possession of the Warrnambool and District Historical Society. This plate is one of two painted by Forrester that survive today.This plate, although damaged, is of interest because it was painted by John James Forrester, a Warrnambool artist from the early 20th century. This is a china plate showing a seascape painted by John James Forrester in 1922. It depicts a coastal scene of rocks, birds and sailing boats. The colours are in mauve/brown/ white tonings and are slightly opalescent. The plate has brown/grey handles with one broken and repaired. The plate is oval-shaped with a slight dip and a stand at the base. Front of plate: ‘J.J.F.’ On base: ‘J.J. Forrester 1922’ john james forrester, history of art in warrnamool, history of architecture in warrnambool, history of warrnambool, china painting -
Robin Boyd Foundation
Document - Script, Robin Boyd, University of the Air. Design in Australia 8. Conclusions, 1964
Robin Boyd was involved in creating several TV series for the ABC University of the Air. 'Design in Australia' was an eight part series. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In part 8, Boyd concludes his lecture with an overview of the state of Australian design. Boyd points to the uniqueness of Australia's natural landscapes and asks a series of pointed questions, implying that Australian design does not reflect or match up to its context. In Boyd's view, Australia now produces world-class designers, but lacks a world-class design culture, leading the best professionals to leave for the US or UK. Boyd concludes by arguing that Australian design culture can be developed into something both connected to the rest of the world and still uniquely Australian.This is a draft script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965.Typewritten (c copy), foolscap, 12 pagesInscription in pencil on p.8 - "good ideas (Kings + fountain)"university of the air, design in australia, robin boyd, henry lawson, d.h. lawrence, kangaroo novel, canberra, manuscript -
Federation University Art Collection
Artwork - Triptych, ‘Bits and Speechless Pieces’, ‘A Grimace on Obscurity 3’ and ‘Keeping the Interval’ by Tarli Glover, 1984
Tarli GLOVER Tarli Glover undertook a Bachelor of Arts at Ballarat College of Advanced Education [now Federation University] between 1980 and 1983, majoring in Fine Art Painting. Based in Central Victoria, she has been practicing professionally for over three decades and has exhibited widely throughout Australia. While Tarli's work covers a wide range of creative disciplines’ she concentrate’s primarily on painting, drawing and multi-media works with a focus on both landscape and figurative genres. Her work leans toward semi abstract symbolism and representation. This triptych was part of Tarli Glover's final year folio in 1983. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.A painted triptych by Tarli Glover with the following titles: .1) 'Bits and Speechless Pieces' .2) 'A Grimace on Obscurity' .3) 'Keeping the Interval'art, artwork, tarli glover, theatre, triptyc, oil on board, ballarat college of advanced education, alumni -
Federation University Art Collection
Painting, 'Wattamalla Scrub' by David Rankin, 1985
David RANKIN (1946- ) Born Plymouth, Devon, England Arrived Australia 1948. Leaving rural New South Wales David Rankin arrived in Sydney in 1967. A largely self taught artist he taught art between 1966 and 1974, with his first exhibition was held in 1968. During the 1970s he established Port Jackson Press publishing fine art prints. In 1983 David Rankin won the Wynne Prize for Australian landscape painting. Rankin lives and works in New York, New York., United States of America. His abstract work is distinguished by its loose, expressionistic use of line. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Abstract paintingart, artwork, david rankin, landscape, available, oils, oil on linen -
Federation University Art Collection
Painting - Artwork, Black Day, 2012
'Black Day' was part of a series of paintings drawn from a larger body of work produced over a four-year period exploring the 'harsher side' of the Australian landscape and the aftermath of extreme weatehr events and climatic occurences of fire, flood, drough and wind. Although loosely based on real places and events, the works are essentially fictional with ideas gleaned from popular media - telveision, Internet, magazines and newspapers. While my return to abstraction and landcape painting from figuration has been relatively recent, the natural environment has always been informed by my artistic practice regardless of subject matter, and has had always informed my artistic practice regardless of subject matter, and has had a long-standing influence on the aesthetics, the compositional structre and imagery in my work. The flattening of the picture plane and the prominent horizontal and vertical marks in my composition are informed by a response to both natural and man-made interventions in the land - the muted and restricted colour palette echoing my response to extrems in environmental changes, particulalry of cental and western ditrict Victoria. Created in the studio environment, I consisder this boxy of work as being imaginative 'conglomerates' which reflect varying perspectives and textural interpretrations of the land - defining and expresssing my response to particular and significant climatic, environmental events and my personal experiances. September 2012Tarli GLOVER Tarli Glover undertook a Bachelor of Arts at Ballarat College of Advanced Education [now Federation University] between 1980 and 1983, majoring in Fine Art Painting. Based in Central Victoria, she has been practicing professionally for over three decades and has exhibited widely throughout Australia. While Tarli's work covers a wide range of creative disciplines’ she concentrate’s primarily on painting, drawing and multi-media works with a focus on both landscape and figurative genres. Her work leans toward semi abstract symbolism and representation. This item is part of the Federation University Art Collection and was purchased for the collection by Vice Chancellor David Battersby. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Acrylic on canvas paintingart, artwork, glover, tarli glover, bushfire, alumni, available -
Federation University Art Collection
Artwork, 'Scorched' by Tarli Glover, 2012
Tarli GLOVER Tarli Glover undertook a Bachelor of Arts at Ballarat College of Advanced Education [now Federation University] between 1980 and 1983, majoring in Fine Art Painting. Based in Central Victoria, she has been practicing professionally for over three decades and has exhibited widely throughout Australia. While Tarli's work covers a wide range of creative disciplines’ she concentrate’s primarily on painting, drawing and multi-media works with a focus on both landscape and figurative genres. Her work leans toward semi abstract symbolism and representation. This item is part of the Federation University Art Collection and was purchased for the collection by Vice Chancellor David Battersby. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, glover, tarli glover, fire, bushfire, firetruck, cfa, country fire authority, alumni, available -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, View of the railway tunnel through the big hill near Mount Herbert, c. 1876
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 on boardprinted in ink on support l.c.: VIEW OF THE RAILWAY TUNNEL THROUGH THE BIG HILL NEAR MOUNT HERBERT. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 10. / VIEW OF THE RAILWAY TUNNEL THROUGH THE BIG HILL NEAR MOUNT HERBERT. / This tunnel is situated on the Mount Alexander and Murray Railway Line, between Castlemaine and Sandhurst, / and is 431 yards long; the completion of this and the remaining portion of the line to Bendigo was celebrated by / great public feasting. The Tunnel is perfectly level, and the spectator is enabled to distinguish objects through it, / as may be seen by the illustration. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire, landscape photography, mount herbert, railways - victoria -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, Fern Grove, near Mount Munday, c. 1876
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 -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, Dandenong State Forest, at Fern Tree Gully, c. 1876
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 on boardprinted in ink on support l.c.: DANDENONG STATE FOREST, AT FERN TREE GULLY. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 12. / DANDENONG STATE FOREST, AT FERN TREE GULLY. / Fern Tree Gully is one of the favourite resorts for pleasure-seekers on holiday occasions. This scene is taken / from the camping ground at the entrance to the Gully. The residence in the centre of the picture is that of the / Forest-keeper, Mr. Kennedy, who has charge of the Dandenong State Forest. The trees on the hill at the back of / the residence, through apparently diminutive, are in reality gigantic ones, measuring in many instances from 15 to / 20 feet in circumference at the base. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography, ferntree gully -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, View of the Township of Fernshawe, c. 1876
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. [Note: This is the first of two copies of this photograph in the collection]printed in ink on support l.c.: VIEW OF THE TOWNSHIP OF FERNSHAWE. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 14. / VIEW OF THE TOWNSHIP OF FERNSHAWE. / Fernshawe may be considered the most romantic town in the Colony of Victoria. It is situated at the foot of / the Black Spur, and is surrounded by a great many high hills, such as Mounts Riddell, Juliet, Munday, and others, / which form the crossing range into Gipps Land. It has, no doubt, derived its name from the fact that it is the / greatest Fern-growing district in the Colony. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography, fernshawe -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, Entrance to Fernshawe, c. 1876
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.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 boardPrinted inscription on reverse: A fifty-mile drive from Melbourne, via Lilydale, will bring the traveller to the township of Fernshawe. On nearing the entrance to the town, the scenery becomes most enchanting. In the distance can be seen the summit of Mount Munday. The ridge of trees in the middleground forms part of the foot of the Black Spur. The building in the foreground is the residence of the only Government Official, who represents the various titles of Post-master, State School Teacher, Registrar, &c.landscape photography - australia - 19th century, nicholas caire -
Warrnambool and District Historical Society Inc.
Photograph, Old Lyndoch - Photograph of Painting, Late 19th century (original painting); late 20th century (photograph of painting)
This is a photograph of a painting by the noted artist George Webb (1861-1949). Webb was best known for his portraits of civic dignitaries in Melbourne and Adelaide but he also produced many landscapes and seascapes. Some of these feature Warrnambool landmarks as he married, in the late 1890s, Christina Lake, the step-daughter of George Rolfe who owned the property known as ‘Lyndoch’, near the mouth of the Hopkins River. Webb painted the early cottages at ‘Old Lyndoch’ using a photograph taken some time earlier. The painting was given to Dick Allan, the chauffeur in the employ of Florence Lake, Christina’s sister. Florence Lake owned and resided at Lyndoch after her parents’ death. Dick Allan’s son, living in Tasmania, acquired the painting and Les O’Callaghan obtained the photograph of the painting from him. Although this is only a photograph of an original painting, it is of some considerable importance as the painting has great historical significance and this is the only representation we have of it. The man in the photograph represents George Rolfe and the story of Rolfe and his ownership and development of the property of Lyndoch is an important one in Warrnambool’s history. The original by George Webb is also an important work of art in its own right.This is a colour photograph of a painting. The frame of the original painting can be seen at the bottom of the photograph. The photograph is in on old frame which has two wooden edgings with the outer one having an ornate gold plaster edging and an inner one with a gold velvet insert next to the glass. The ornate gold plaster has a piece missing near the top left hand corner. The photograph is set into a gold-coloured wooden frame inside the glass. The photograph is mounted onto cardboard and covered with cardboard at the back with a small piece of wood attached (from the original frame). The backing is nailed on. lyndoch, george webb, george rolfe -
Eltham District Historical Society Inc
Slide - Photograph, Gordon Ford garden, "Fulling", Pitt Street, Eltham, 23 May 1993
"Fulling", pronounced Fu-elling, the 'display home' of Gordon Ford landscape designer and consultant. From 1945 he transformed one and a half acres of treeless grassland into a splendid bush garden complete with a waterfall and ponds. He used sawdust and wood shavings as a base for the bush floor. The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, fulling, gordon ford garden, pitt street -
Eltham District Historical Society Inc
Slide - Photograph, Gordon Ford garden, "Fulling", Pitt Street, Eltham, 23 May 1993
"Fulling", pronounced Fu-elling, the 'display home' of Gordon Ford landscape designer and consultant. From 1945 he transformed one and a half acres of treeless grassland into a splendid bush garden complete with a waterfall and ponds. He used sawdust and wood shavings as a base for the bush floor. The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, fulling, gordon ford garden, pitt street -
Eltham District Historical Society Inc
Slide - Photograph, Gordon Ford garden, "Fulling", Pitt Street, Eltham, 23 May 1993
"Fulling", pronounced Fu-elling, the 'display home' of Gordon Ford landscape designer and consultant. From 1945 he transformed one and a half acres of treeless grassland into a splendid bush garden complete with a waterfall and ponds. He used sawdust and wood shavings as a base for the bush floor. The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, fulling, gordon ford garden, pitt street -
Eltham District Historical Society Inc
Slide - Photograph, Gordon Ford garden, "Fulling", Pitt Street, Eltham, 23 May 1993
"Fulling", pronounced Fu-elling, the 'display home' of Gordon Ford landscape designer and consultant. From 1945 he transformed one and a half acres of treeless grassland into a splendid bush garden complete with a waterfall and ponds. He used sawdust and wood shavings as a base for the bush floor. The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, fulling, gordon ford garden, pitt street -
Eltham District Historical Society Inc
Journal, Peter Doughtery, ArtStreams: Banyule, Darebin, Manningham, Nillumbik, Whittlesea & Yarra; Vol. 7, No. 3, Jul-Aug 2002, 2002
Vol. 7, No. 3, Jul-Aug 2002 CONTENTS Comment 2 Home Country: The Art of John Waller 3 by Dr Christopher Heathcote Short Story: Meeting People Andrew Hutchinson 7 Strange Memories Barbara Blackman on the art of Anna Glynn 10 Walking the Talk 12 Reconciliation in Eltham World Environment Day 13 Poetry news and reviews 14 John Jenkins Australian Classical Music 15 Elizabeth Scarlett Short Story: The Thinkers Library 16 Trevor Hay CD Reviews Kerri Simpson, Brian Brown 22 Book Review Ecological Pioneers 24 Coffee 25 Australian Landscape Conference 26 How many birds is that? 28 Artin' About 29 Wining & Dining 30 Artin' About 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/06) art streams, winter in banyule, john waller, bundoora homestead, willy wonka's ice cream gourmet food, bibby's bahnhof cafe, eltham fullife pharmacy, andrew hutchinson, bulleen art & garden centre, dynamic vegies, montsalvat, anna glynn, aboriginal reconciliation, marg woiwod, mick woiwod, andrew ross museum, trevor hay, st andrews hotel, chris pittard, mary-lou pittard, eltham wiregrass gallery, thompson's pharmacy, heide museum of modern art -
Melbourne Water
Souvenir Manicure Set, ELOSI, Maroondah Dam, Healesville Souvenir, c.1940
The Maroondah System was first and foremost developed as a functional component of Melbourne's Water Supply System. In addition to functionality, the Melbourne and Metropolitan Board of Works (MMBW) envisioned the Maroondah Reserve to be enjoyed aesthetically and recreationally by the public. This souvenir illustrates the realisation of the Maroondah System as a local recreational and tourist attraction in the early 20th century. The Maroondah Reserve gardens were landscaped with English-style ornamental stonework, exotic trees, flower beds and rose gardens. All features of the water supply system became widely celebrated as beauty spots that continue to be very popular to this day with tourists and locals alike. This souvenir is a product of that flourishing tourist trade. These water supply sites continue to enhance Melbourne’s charm and liveability and are now recognised as places of cultural and historic significance.This souvenir item has been curated by Melbourne Water as it represents an important historical aspect of the organisation by demonstrating the popularity of its water asset sites as recreational places and tourist attractions, and although these sites are functional parts of the water supply system, they were also designed to be enjoyed by the public both aesthetically and recreationally. This rare pocket grooming kit features a scene of the Maroondah Outlet and Dam. The handle is manufactured from mother-of-pearl, encasing four steel utensils. The utensils contained inside the kit were used for filing and manicuring.Engraved on the back of the last utensil is the manufacturer’s mark “ELOSI”. ELOSI is the acronym from Ernest Lohr and Otto Stiehl of Solingen, Germany. In 1935, this company was the first to manufacture thin plastic covers for low cost (5-25 cents). This is one of the most successful and profitable inventions in the history of cutlery and utensils.melbourne metropolitan board of works, mmbw, maroondah, dam, healesville, melbourne water, scenic view, souvenir, manicureset, historic, germany, rare -
Melbourne Water
Souvenir Pennant
The Maroondah System was first and foremost developed as a functional component of Melbourne's Water Supply System. In addition to functionality, the Melbourne and Metropolitan Board of Works (MMBW) envisioned the Maroondah Reserve to be enjoyed aesthetically and recreationally by the public. This souvenir illustrates the realisation of the Maroondah System as a local recreational and tourist attraction in the early 20th century. The Maroondah Reserve gardens were landscaped with English-style ornamental stonework, exotic trees, flower beds and rose gardens. All features of the water supply system became widely celebrated as beauty spots that continue to be very popular to this day with tourists and locals alike. This souvenir is a product of that flourishing tourist trade. These water supply sites continue to enhance Melbourne’s charm and liveability and are now recognised as places of cultural and historic significance.This souvenir item has been curated by Melbourne Water as it represents an important historical aspect of the organisation by demonstrating the popularity of its water asset sites as recreational places and tourist attractions, and although these sites are functional parts of the water supply system, they were also designed to be enjoyed by the public both aesthetically and recreationally. Navy in colour, the pennant is double sided, with an image of the Maroondah Dam surrounding the word “Maroondah” on both sides.melbourne metropolitan board of works, mmbw, maroondah, dam, healesville, melbourne water, scenic view, souvenir, pennant, flag, textile, historic -
Melbourne Water
Postcard, The Car Park at Maroondah Reserve, c.1940
The Maroondah System was first and foremost developed as a functional component of Melbourne's Water Supply System. In addition to functionality, the Melbourne and Metropolitian Board of Works (MMBW) envisioned the Maroondah Reserve to be enjoyed aestethically and recreationally by the public. This souvenir postcard illustrates the realisation of the Maroondah System as a local recreational and tourist attraction in the early 20th century. The Maroondah Reserve gardens were landscaped with English-style ornamental stonework, exotic trees, flower beds and rose gardens. All features of the water supply system became widely celebrated as beauty spots that continue to be very popular to this day with tourists and locals alike. This souvenir is a product of that flourishing tourist trade. These water supply sites continue to enhance Melbourne’s charm and liveability and are now recognised as places of cultural and historic significance.This souvenir item represents an important historical aspect of the MMBW by demonstrating the popularity of its water asset sites as recreational places and tourist attractions, and although these sites are functional parts of the water supply system, they were also designed to be enjoyed by the public both aesthetically and recreationally. The souvenir postcard is significant for its documentation of the Maroondah Water Supply System developed through the late nineteenth and early twentieth century, shaping the formative years of Melbourne. The postcard is also historically significant for its association with the MMBW and is viewed as a noteworthy achievement of the organisation. Souvenir coloured rectangular postcard with a framed picture of the carpark at the Maroondah Reserve.melbourne metropolitan board of works, mmbw, maroondah reservoir, melbourne water, scenic view, souvenir -
Melbourne Water
Dish, The Outlet at Maroondah Dam, Souvenir, c.1940
The Maroondah System was first and foremost developed as a functional component of Melbourne's Water Supply System. In addition to functionality, the Melbourne and Metropolitan Board of Works (MMBW) envisioned the Maroondah Reserve to be enjoyed aesthetically and recreationally by the public. This souvenir dish illustrates the realisation of the Maroondah System as a local recreational and tourist attraction in the early 20th century. The Maroondah Reserve gardens were landscaped with English-style ornamental stonework, exotic trees, flower beds and rose gardens. All features of the water supply system became widely celebrated as beauty spots that continue to be very popular to this day with tourists and locals alike. This souvenir is a product of that flourishing tourist trade. These water supply sites continue to enhance Melbourne’s charm and liveability and are now recognised as places of cultural and historic significance.This souvenir item represents an important historical aspect of the MMBW by demonstrating the popularity of its water asset sites as recreational places and tourist attractions, and although these sites are functional parts of the water supply system, they were also designed to be enjoyed by the public both aesthetically and recreationally. The souvenir dish is significant for its documentation of the Maroondah Water Supply System developed through the late nineteenth and early twentieth century, shaping the formative years of Melbourne. The dish is also historically significant for its association with the MMBW and is viewed as a noteworthy achievement of the organisation.Small white porcelain dish with silver trim, 120x75x10mm, with drawing printed in the centre and text reading, "The Outlet, Maroondah Dam, Healesville, Vic." Makers mark, Manufactured in Czechoslovakiamelbourne metropolitan board of works, mmbw, maroondah, outlet, melbourne water, scenic view, souvenir, porcelain, healesville -
Melbourne Water
Glass Bowl, Maroondah Dam, Healesville Souvenir, 1930s -1940s
The Maroondah System was first and foremost developed as a functional component of Melbourne's Water Supply System. In addition to functionality, the Melbourne and Metropolitan Board of Works (MMBW) envisioned the Maroondah Reserve to be enjoyed aesthetically and recreationally by the public. This souvenir illustrates the realisation of the Maroondah System as a local recreational and tourist attraction in the early 20th century. The Maroondah Reserve gardens were landscaped with English-style ornamental stonework, exotic trees, flower beds and rose gardens. All features of the water supply system became widely celebrated as beauty spots that continue to be very popular to this day with tourists and locals alike. This souvenir is a product of that flourishing tourist trade. These water supply sites continue to enhance Melbourne’s charm and liveability and are now recognised as places of cultural and historic significance.This souvenir item has been curated by Melbourne Water as it represents an important historical aspect of the organisation by demonstrating the popularity of its water asset sites as recreational places and tourist attractions, and although these sites are functional parts of the water supply system, they were also designed to be enjoyed by the public both aesthetically and recreationally. Clear glass flower shaped 'depression ware' bowl with photograph of Maroondah Dam Healesville in the base.melbourne metropolitan board of works, mmbw, maroondah reservoir, melbourne water, scenic view, souvenir, glass, bowl -
Melbourne Water
Glass Bowl, Maroondah Dam, Healesville Souvenir, 1930s - 1940s
The Maroondah System was first and foremost developed as a functional component of Melbourne's Water Supply System. In addition to functionality, the Melbourne and Metropolitan Board of Works (MMBW) envisioned the Maroondah Reserve to be enjoyed aesthetically and recreationally by the public. This souvenir illustrates the realisation of the Maroondah System as a local recreational and tourist attraction in the early 20th century. The Maroondah Reserve gardens were landscaped with English-style ornamental stonework, exotic trees, flower beds and rose gardens. All features of the water supply system became widely celebrated as beauty spots that continue to be very popular to this day with tourists and locals alike. This souvenir is a product of that flourishing tourist trade. These water supply sites continue to enhance Melbourne’s charm and liveability and are now recognised as places of cultural and historic significance.This souvenir item has been curated by Melbourne Water as it represents an important historical aspect of the organisation by demonstrating the popularity of its water asset sites as recreational places and tourist attractions, and although these sites are functional parts of the water supply system, they were also designed to be enjoyed by the public both aesthetically and recreationally. Glass bowl with a photograph of the Maroondah Dam in the middle, and text overlay reading "Maroondah Dam, Healesville". melbourne metropolitan board of works, mmbw, maroondah, dam, healesville, melbourne water, scenic view, souvenir, glass bowl -
Melbourne Water
Dish, Maroondah Reservoir, Healesville Souvenir, 1930s-1940s
The Maroondah System was first and foremost developed as a functional component of Melbourne's Water Supply System. In addition to functionality, the Melbourne and Metropolitan Board of Works (MMBW) envisioned the Maroondah Reserve to be enjoyed aesthetically and recreationally by the public. This souvenir illustrates the realisation of the Maroondah System as a local recreational and tourist attraction in the early 20th century. The Maroondah Reserve gardens were landscaped with English-style ornamental stonework, exotic trees, flower beds and rose gardens. All features of the water supply system became widely celebrated as beauty spots that continue to be very popular to this day with tourists and locals alike. This souvenir is a product of that flourishing tourist trade. These water supply sites continue to enhance Melbourne’s charm and liveability and are now recognised as places of cultural and historic significance.Manufactured in England, this souvenir dish made from bone china with gold trim, features an illustration of the Maroondah Reservoir in the centre reading, “Maroondah Reservoir, Healesville”. On the back of the dish is the makers mark, Royal Stafford, one of the oldest pottery factories in Staffordshire, England. The Royal Stafford brand was established in 1845 and continues to provide high quality tableware in the present day. This souvenir item has been curated by Melbourne Water as it represents an important historical aspect of the organisation by demonstrating the popularity of its water asset sites as recreational places and tourist attractions, and although these sites are functional parts of the water supply system, they were also designed to be enjoyed by the public both aesthetically and recreationally. Souvenir dish made from bone china with gold trim, featuring an illustration of the Maroondah Reservoir in the centre reading, “Maroondah Reservoir, Healesville”.Makers mark, Royal Stafford.maroondah, healesville, dish, porcelain, melbourne metropolitan board of works, melbourne water, mmbw -
Melbourne Water
Ashtray, Graceburn Weir, Healesville Souvenir, 1930s-1940s
The Maroondah System was first and foremost developed as a functional component of Melbourne's Water Supply System. In addition to functionality, the Melbourne and Metropolitan Board of Works (MMBW) envisioned the Maroondah Reserve to be enjoyed aesthetically and recreationally by the public. This souvenir illustrates the realisation of the Maroondah System as a local recreational and tourist attraction in the early 20th century. The Maroondah Reserve gardens were landscaped with English-style ornamental stonework, exotic trees, flower beds and rose gardens. All features of the water supply system became widely celebrated as beauty spots that continue to be very popular to this day with tourists and locals alike. This souvenir is a product of that flourishing tourist trade. These water supply sites continue to enhance Melbourne’s charm and liveability and are now recognised as places of cultural and historic significance.This souvenir item has been curated by Melbourne Water as it represents an important historical aspect of the organisation by demonstrating the popularity of its water asset sites as recreational places and tourist attractions, and although these sites are functional parts of the water supply system, they were also designed to be enjoyed by the public both aesthetically and recreationally.This Souvenir glass ashtray, used as a receptacle for ash from cigarettes, features a photograph of the Graceburn Weir on the base, with text reading “The Graceburn Weir, Healesville”. Rather small in size, this ashtray has a unique shape with four protruding glass points to place cigarettes. melbourne metropolitan board of works, mmbw, maroondah, dam, healesville, melbourne water, scenic view, souvenir, glass, ashtray, graceburnweir