First timber road bridge over the Tambo River at Swan Reach officially opened 20 December 1905, after which punt was removed to BairnsdaleBlack and white postcard of the lifting bridge over the Tambo River at Swan Reach, Victoria. Man on horse standing on dirt road to Metung beside the river. Punt previously used to cross river visible against western bank of river.Tambo River (16 miles from Bairnsdale)bridges, waterways

Black and white photograph of the Johnsonville State School students posed on the Johnsonville Punt moored to the bank of the Tambo River. Many of the children are holding bunches of greenery, perhaps, indicating Arbor Day. Some adults also present. Johnsonville Victoriaboats and boating, waterways

Yields information about the tram decorated for the Ballarat Begonia Festival featuring a paddle wheel for the 1969 festival.Digital image of No. 21 decorated for the 1969 Begonia Festival, using the Festival Showboat theme, at the City terminus with the Post Office in the background. The tram has the destination of View Point. The ANZ bank is on the corner. Note the colour lights at the tram stop.trams, tramways, sturt st, city, begonia festival, decorated trams, tram 21

Photograph of the intersection of Ryrie and Moorabool Streets Geelong looking south along Moorabool St, showing the bar type traffic lights and two bogie trams in Ryrie St, one with safety or hazard stripes. Has the Bank of NSW in the view. trams, tramways, geelong, ryrie st, moorabool st, traffic lights

Buff Coloured Paper and Cobalt Blue ink Castlemaine Colonial Bank Cheque Stirling 1800s. Printers and Lithographers Troedel & Co. England. Image of scrolling decoration on left margin surrounding where the duty stamp affixation point exists.castlemaine, gold, colonial bank

Black and White copy Photograph of U 204 in William St, at Collins St mid 1920's, with the destination of "M Br River". Has the Australian Mutual Prudential Bank? in the background. Photo is in the PRO H collection and the TAP collection.trams, tramways, u class, william st, maribyrnong river, collins st, tram 204

Very small, slightly blurry black and white photograph shows a large car driving through Linton, going past the Bank of New South Wales/Traquair House building. This car was the Ansett "bus" used on the Ballarat to Hamilton line.In biro across bottom left-hand corner (almost illegible): "Mr Ansett's car". In pencil on back: "1936"; "Ansett's Car".transport, ansett

Sepia toned photograph of the foreshore, known as Cunninghame in 1890 when this photo was taken. It shows a schooner anchored in the lake, another at the jetty beside a steamer with a tall funnel. Three men on bank beside natural vegetation. Lakes Entrance VictoriaCunninghame, foreshore 1890 Tambo Shire Collectionjetties, boats and boating, waterfront, vegetation

The photo shows trams 40 & 17 passing on the loop in Pakington St at Clarence Sts in West Geelong. Has a "Fishorium" (fish shop), A E Bent Radio, a Grocery shop, Commercial bank, a butcher, and the State Savings Bank of Vic in the photo. Photo undated, Keith Kings late 1955 or early 1956, photo number Q(R)(8)Yields information about the West Geelong shoping centre and tramway operations.Black and white photograph with notes on rear.See rear image and context.trams, tramways, pakington st, geelong, west geelong, tram 40, tram 17

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

John Ash succeeded Thomas Harrison as the Australian Note Printer in 1927 and oversaw the printing of a new series of banknotes, known as the Ash Series. First issued between 1933 and 1934, the new banknotes sought to improve the currency's resistance to counterfeiting. A special watermark was created to increase the security of the new series. Shaped as a medallion, the watermark showed the profile of Edward, the Prince of Wales. A new portrait of the King was also introduced, depicting him frontally rather than in profile as he had appeared in the prior banknotes of the Harrison Series (1923-1925). The back of each denomination contained an individual vignette that reflected a sector of the country's economy. The wool and agricultural industries were represented, as they had been in the first series of the nation's banknotes (1913-1914), and they were joined by manufacturing and commerce. The prominent British sculptor, Paul Montford, contributed to the design of the new series. Recognised for his sculptural works on the exterior of Melbourne's Shrine of Remembrance, Montford was commissioned to produce relief sculptures that formed the basis of the banknotes' vignettes. His sculptures were translated into wash drawings by Frank Manley, the artist and engraver for the Commonwealth Bank's Note Printing Branch. Manley accentuated the sculpture's three-dimensional qualities with deep shadows and touches of illusionism. A sheep in Montford's pastoral scene, for example, stands forward from the frame as if entering the viewer's space to escape branding and Manley preserves this visual conceit in his drawing. Whereas the printing of the previous series of Australian banknotes had been criticised for its poor definition, the sculptural basis of the Ash Series clarified the banknotes' imagery. During a period of record unemployment, the scenes emphasised the strength of the human figure in gestures of labour, evoking classical, heroic qualities in their poses. The sculptural forms suggested stability in the turbulence of the Great Depression and imparted a sense of solidity to paper currency. - museum.rba.gov.auCommonwealth of Australia paper one pound note in green and white tones depicting graphics and text. The obverse has a framed design with a blank portal to the left and King George VI in the right portal. The centre shows the Australian Coat of Arms, serial number, and detail over one pound symbol on a mosaic background, with signatories below. The reverse features a framed pastoral scene with farmers tending sheep, with a blank portal to the right.Obverse: ONE / 1 / 1 / ONE / COMMONWEALTH OF AUSTRALIA / K / 58 / 790230 / K / 58 / 790230 / This Note is legal tender for / ONE POUND / in the Commonwealth and in all / Territories under the control of the / Commonwealth. / [signature] / GOVERNOR / COMMONWEALTH BANK ON AUSTRALIA / [signature] / SECRETARY TO THE TREASURY Reverse: 1 /1 / 1 / 1 / PASTORALcurrency, money, pound note, pastoral scene, industry, commonwealth of australia, paul montford, king george vi, frank manly, john ash

This photograph was taken of Ford Street, Beechworth looking east showing the Post Office on the left and the Bank of Victoria on the right. Black and white rectangular postcard. The image is printed on matt photographic paper and mounted on cardboard.Obverse: NO INSCRIPTION Reverse: BMM7735 Beechworth beechworth, ford street, burke museum, horse, sepia

Shows the Commercial Bank of Australia on the Dudley Street intersection and part of the War Memorial on the left amongst the parked cars.In February 1968 an unknown person took a series of photos from the Eltham Hotel at Pitt Street heading north along Main Road through the shopping centre to just north of Elsa Court covering the length of the section of Main Road which was duplicated shortly thereafter. Shows the condition and environment of the streesscape of Main Road, Eltham immediately prior to the duplication between Pitt Street and Elsa Court through the shopping centre. Also shows a number of shops and businesses that operated at that time.Black and white photographduplication, eltham, main road, commercial bank, eltham, dudley street, shire of eltham war memorial, arthur street, shopping centre, eltham shire office

Source: Mrs. E.M. Jackson, Pigeon Bank, Kangaroo Ground. (Small print, no neg.) Cross Ref: 0403This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital imagesepp, shire of eltham pioneers photograph collection, kangaroo ground, kangaroo ground state school

Used at Ballarat School of Mines in areas needing a lot of light as well as numerous globes in banks to test the generators.Osram large gas filled, standard shaped, Eddison screw 250 V 300 W light globe.bulbs, light bulbs, osram, gec osram, ballarat school of mines, globes, edison screw, lamps, electricity

Rev. Graeme Gregory spoke at Yarra Bank, Voice of Methodism and his social work involved in the Department of Childcare.Gloss, black and white, head and shoulders, studio portrait of Rev. Graeme Gregory.gregory, g., methodist

Rev. Graeme Gregory spoke at Yarra Bank, Voice of Methodism and his social work involved in the Department of Childcare.Gloss, black and white image of Rev. Graeme Gregory in situ.gregory, g., methodist

Featured in the photograph are: The Red Boot Shop, Victoria Hotel, Ah Quon Fruiterer, the Bank of Australasia, and the Rutherglen HotelBlack and white postcard photograph of Main Street Rutherglen looking west.Printed on photo across the front of a building on the right side of the photo: "Main St. Rutherglen"main street rutherglen, shops, hotels, red boot shop, victoria hotel, quon fruiterer, bank of australasia, rutherglen hotel

The Jacksons Creek and the Macedon Street stone arched bridge are the features in this postcard with a view of a vineyard on the LH river bank. The wine industry was one of the early industries caroused out in Sunbury by the early European settlers in the district.A sepia photograph in post card format of a waterway with overhanging trees and an arched bridge in the middl;e distance.JACKSONS CREEK, SUNBURYjacksons creek, macedon street bridge, vineyards.

Used in the office of the Port Fairy Butter Factory which was located on Gipps Street facing the end of Bank Street.Black cast iron seal with wooden handle. Decorated with gold designPort Fairy Cheese and Butter Factory Company, Port Fairy Limitedport fairy cheese and butter factory company, port fairy dairy farming, butter, factory, gipps street, company seal

This hat belonged to Mrs Moyra Rasmussen, who lived at 389 St Kilda Street, Brighton for over 50 years with her husband Rae Rasmussen, a bank manager with the State Bank of Victoria. The Mooney sisters, Nell and Ida, were situated beside the Regent Theatre in Collins Street, Melbourne and were well respected milliners and dressmakers. The hat's style is typical of the 1960s. Woven turquoise silk taffeta turban style ladies hat with half bow, circa 1960s. White mesh interior with teal grosgrain binding, thin black elastic band.Label, woven black on white: MISSES MOONEY / OF MELBOURNEhat, turban, rae rasmussen, brighton, misses mooney, millinery, melbourne designers, moyra rasmussen

This history of the Victorian town of St. Andrews (formerly Queenstown) and its surroundings was written to celebrate the 140th anniversary of St Andrews Primary School. Describes the displacement of the Aboriginal inhabitants of the area, European settlement and the Gold Rushes and the Caledonia diggings. Discusses establishment of the school, church and cemetery and various other notable events. The school in 1998 and speculations on the future by primary school pupils. Contents: Introduction The First People Mining- What a rush! The School The Church Queenstown Cemetery The Hotels The Police Paddocks The Families Queenstown in the early twentieth century The Queenstown Bush Fire Brigade The 1st Queenstown Scout troop Queenstown, the 1940s and 1950s The Characters Odds and Sods St Andrews - The Present Times The Future St Andres Primary School in 1998This book is significant in that it documents the history of the St Andrews community from the indigenous presence through its foundation during the Victorian Gold Rush through to local bushfires and predictions of the future by local primary schools students in 1998. It remains the only significant secondary source publication written specifically on this rural community.Reprint edition with index 158 p. : ill., ports ; indexEx Eltham College copy Bendigo bank donation label inside cover Title page with stampings for D.D. Davey Senior Library Rear page date due slip st andrews, queenstown