Yields information about the first series of Geelong trams in 1912.Postcard, divided back of one of the first Geelong trams in the depot. No number can be seen on the front of the tram. The first batch was numbered 1 to 10. Note the detail painting on the piece of vertical panel at the end of the saloon. Note the track brake. The postcard writer advised that it was one of Geelong's new trams. Divided back type with areas for correspondence, stamp and address. On the left hand side - W. H. Watts Photographer Geelong.trams, tramways, geelong, depot, new tramcars, tram 30

Photo of SEC Ballarat Tram No. 17 east bound in Sturt St, after crossing Doveton St. In the photograph are the buildings on the north side of Sturt St., including the CBC Bank building with a CAGA Finance sign on the top of the building . No. 17 has "Everything's under control in my all electric kitchen" SEC roof advertisement panel. Kodak cardboard mount slide, taken by Peter Moses August 1971.On back of slide in light black ink "N17 Ballarat / Sturt St. " and in bottom left hand corner in black ink "P. Moses".tramways, trams, sturt st, doveton st, cbc bank, tram 17

Yields information about the North Bendigo terminus, the level crossing and roof advertisements on the tramcar.Black and white print on heavy matt photographic paper of Bendigo 19 at the North Bendigo terminus, with the conductor walking back to the tram, c1963. The tram has an "Electric Cook" roof advertisement and "Cohns Drinks" advertisement on the front dash panel. 2nd copy - laser print - with date etc on rear - added 22/2/2010, copy from Ron Hann. Printed on Fujifilm, Fujicolour Crystal Archive for Frontier"On rear in pencil "North Bendigo 1963" 2nd copy has label "Reference 6/212/30" Photo by Ron Hann" and another label "Bendigo North 01.63"tramways, trams, bendigo, north bendigo, tram 19

Yields information about the Quarry Hill terminus and roof advertisements on the tramcar.Black and white print on heavy matt photographic paper of Bendigo 18 at Quarry Hill terminus with the driver walking back to the tramcar. The tram has a White Horse Whiskey advertisement on the front dash panel, and two electric cooking roof advertisements. 2nd copy - laser print - with date etc on rear - added 22/2/2010, copy from Ron Hann. Printed on Fujifilm, Fujicolour Crystal Archive for Frontier"On rear in pencil "18 Quarry Hill 1963" 2nd copy has label "Reference 6/214/28" Photo by Ron Hann" and another label "Bendigo Quarry Hill 01.63"tramways, trams, bendigo, quarry hill, tram 18

Agfa plastic mount (blue base, white cover) with a photo of Bendigo 7, en route to North Bendigo, McCrae St, about to turn into Nolan St. loop. Tram has the destination of North Bendigo. Photo taken c1962. Tram has a "The Age" sign on the front cab panel. Tram is thought to be outside 260 McCrae St. (8/2004 noted house in background with similar entry at this location."BES 9" in penciltramways, trams, bendigo, north bendigo, mccrae st, tram 7

Agfa plastic mount (blue base, white cover) with a photo of Bendigo No. 5 at Charing Cross near the end of the double line with the Cenotaph in the background. Tram has the destination of Golden Square, a Cohns Drinks advertisement on the front panel and a R.J. Conroy roof advertisement. Three SEC Tramway personnel standing by the side of the tram. Many people standing in the background - Easter Fair or similar event. Photo taken c1962."BES 26" in penciltramways, trams, bendigo, charing cross, celebrations, tram 5

Yields information about the appearance of tram No. 14, during the late 1930's or early 1940's at the Sebastopol tram terminus and the buildings in the background.Black and white photograph of Ballarat trams 14 at the Sebastopol tram terminus, during the late 1930's or early 1940's. The tram has the destination of Lydiard St North. A motor car with a soft roof is parked alongside the tram. In the background is a building with a Robur Tea roof advertisement. Note the tram step is folded up, pay as you enter sign and the tram has a lower cream painted panel. On rear has an Ian Barkla Collection stamp, giving location as Ballarat, Neg. No.1650, SEC Tram No. 14 written in black felt pen.trams, tramways, lydiard st nth, tram 14

Yields information about the appearance of tram No. 21 and the Mechanics Institute in the early 1960's.Black and white photograph of Ballarat tram No. 21 climbing the Sturt St hill. Has the destination of Gardens via Drummond Nth. Dated 21/3/1962. Printed on Agfa Gevaert paper in a postcard format. The tram has an Mutual Home and The Age advertisements on the front dash panel. In the background is the Ballarat Mechanics Institute building with The Odeon sign on the front of the building and Cooks Private Hotel. Photo by Lloyd Rogers.In ink "Car 21, Sturt St, Ballarat 21/3/1962. and the number "3/25". In the top left hand corner "ex A'alide 10?"trams, tramways, sturt st, tram 21

Yields information about the appearance of SEC trams early 1960's at the Railway level crossing and the streetscape.Black and white photograph of Ballarat tram 28 crossing the level crossing. Dated 21/3/1962. Printed on Agfa Gevaert paper in a postcard format. Tram has the destination of Grey St Sebastopol, roof adverts for Castrol Oils and footrest shoes from Pittards of Ballarat and a front panel advert for SEC Briquettes. In the background are Ballarat "B" signal box and Victoria House accommodation facility. Photo by Lloyd Rogers.In ink "Car 28 on railway crossing - Lydiard St Ballarat 21/3/1962" and "7/42" and in pencil "ex M113".trams, tramways, level crossings, lydiard st, tram 28

'Wimba' is of significance as one of the key nineteenth century houses of Kew and for remaining in a substantially intact state. Although probably built some time earlier, the first mention in the Rate Books of the property later known as 'Wimba Lodge' appears in the entry for 1870 when the property, owned by John Sharpe Denbigh, a civil servant, was given an N.A.V. of £72 2. Denbigh did however occupy a house in Cotham Road in 1863, and it is possible that was the same premises'. The house was occupied by Denbigh until at least May 1876 when the 'family residence...' \ 'as auctioned to Carlington George Edmund Marston 5, a chemist of Smith Street, Collingwood. At the time of the auction the house was described thus: The residence and grounds of the late J.S. Dendigh, situate in the most elevated part of Cotham Road Kew. The grounds comprise an area of 4a Or29p or thereabouts, and have a frontage to Cotham-road of 4 chains. The house has two large rooms in front, with 6ft hall built of brick, bay and side windows (plate glass), four rooms of wood behind with slate roofs, bathroom and closets, detached kitchen and servant's room, large shed with washing boiler, pantry and cellar under, brick and cement tank, and the Yan Yean laid onto house and grounds, cowshed, pigstye, &c, the whole securely fenced. First class orchard and flower garden. The paddocks laid with English grasses and drained... .' (Sanderson P, City of Kew Urban Conservation Study, Volume 2, 1988)This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.The front entrance of Wimba in Cotham Road, Kew. The entrance is flanked by two polygonal bay windows, and a verandah with a concave corrugated iron roof returns around three facades, and accentuates the projections of the windows. The solid render parapet is very ornate and tall for the date of construction. It has panels of decoration along it and is surmounted by a number of render urns. The image was used by Dorothy Rogers in 'A History of Kew' (1973), facing page 144.Wimba ca. 1860 built by J.S. Denbigh (has been altered).wimba, kew, dorothy rogers

Colour postcard divided back, four photo panels - Biscay Greetings, 1. - SW5 725 in Collins St, route 9, Northcote 2 - Elizabeth St 3 - A fruit vendors cart 4 - China Town Back has space for name and address, stamp and a message and details of the postcard. Produced by Biscay Greetings, possibly mid 1980's. Card No. BG814 Has title "from Melbourne Australia - impressions"trams, tramways, collins st, tourism, sw5 class, elizabeth st, tram 252

Black and white photograph, taken during the night, of W5's 819 and 775 stored with many other tramcars in Glenferrie Road, looking northwards during the reconstruction of the Malvern Tram Depot lead, 13/9/1969. Taken by Chris Phillips, printed on Kodak Paper. Tram 819 has drivers panel advertisement for Hilti, Hollins Austin Morris cars and 775 for Hollins Austin Morris cars and Sackville.On the rear in black ink "13/9/69"trams, tramways, mmtb, malvern depot, glenferrie rd, trackwork, tram 816

This shirt is part of a Royal Australian Army Ordnance Corps uniform. The Royal Australian Army Ordnance Corps (RAAOC) is responsible for various logistics and organisational operations, such as maintenance of parachutes, fuel distribution, personnel administration, explosive disposal and laundy operations.Short sleeved khaki shirt in light polyester material. Fastened by seven plastic buttons along centre. Two chest pockets fastene with externa flap and button. Fabric shoulder epaulettes on left and right side held in place with a plastic button. Label on interior back of neck and stamp on collar.Printed in black inscriptions on the white label: “ADI P/L/VIC 1989/[broad arrow]/SIZE. 40/8405-66-093-8319/SERVICE NO/NAME/DO NOT BOIL OR WRING/MACHINE WASHABLE/DRIP DRY, IRON LIGHTLY/WITH WARM IRON”. “SIZE 40” is stamped in black into on interior collar. Inscription handwritten on interior lower back panel “4800045/MARTINS.”military, army, raaoc, royal australian army ordnance corps, uniform, parachuting, marksman, warrant officer

Series consists of I) 7 sepia toned photographs or Librarian Linda McConnell inspecting work on the site orthe new library. 2) 11 B& W, sepia and colour photographs or work on the site. 3) 3 laminated colour sketches: floor plan, roor plan & exterior 4) A set or approximately 280 colour snapshots documenting work on the construction site, arranged chronologically month-by-month. There are also 5 "panorama" panels or between 2-4 snapshots taped together. These have been mounted on acid-free card.shire of eltham archives, series listing

Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket. Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Double sized cream blanket with watermelon and mint stripesNo inscriptionwool, blanket, blanket fever, no label

Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket.Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Double sized, checked blanket, brown, blue and creamNo inscriptionwool, blanket, blanket fever, no label

Collector says: As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket."Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Double sized multicolour checked blanketNo inscriptionwool, blanket, blanket fever, no label

Panel Presentation at Eltham District Historical Society meeting November Meeting - A Virtual Eltham Literary Tour (Newsletter No. 225, Nov. 2015) The topic for our November meeting is inspired by a literary tour of Eltham organised by the Eltham Library a few years ago. Of course at a meeting we cannot actually visit sites associated with local writers but we will discuss their lives, writings and Eltham connections. The starting point for this presentation was a long list of local writers, including many present day authors, with quite a few being members of our Society. To keep the presentation to a manageable length we will deal only with writers and literary figures who have passed away. The presentation by a panel of members will include a number of readings relevant to each of the subjects. A particular feature will be the life and work of Alan Marshall who had a long association with Eltham and is our most famous and well known author. In 1971 he wrote Pioneers and Painters: One Hundred Years of Eltham and its Shire. In the chapter Educationalists and Writers, he writes “Writers came to Eltham for the same reason as did the painters: their neighbours had similar interests and the surroundings attracted them.” His stories about local writers have informed the preparation for this meeting.Compact Disc Sony CD-R 700MB MP3 file; 78.8MB, 1:26:08alan marshall, audio recording, eltham district historical society, literature, local writers, panel presentation, society meeting

Before the era of powdered instant coffee; the main method of non-percolated coffee was to have a bottle of 'coffee essence' on hand. These bottles contained a thick liquid compound of coffee and chicory and were added to hot water to make a drink. The product is still available. The earlier bottles had the name of the manufacturer embossed into the glass but later versions had a label panel onto which a label was affixed. This allowed for several different flavours or variations to be sold in one type of bottle with different labels. The bottles came in brown or clear glass and have a distinctive shape. Bottle One has a screw top enclosure with 'Robur Tea Co. Limited' on a side panel. The bottle manufacturer's mark is AGM; used post 1938. It is a 2-piece mould and mould marks are visible on the shoulders and through thread of screw top. The neck is slightly askew and looks stretched on one side; perhaps because it was removed from the mould before being fully cooled. Bottle Two has a cork stoppered neck in clear glass. It has no embossing and has the AGM monogram on its base. It is from a 2-piece mould with a strong mould mark through to the top of the stopper closure. Bottles are 8 ounce size and were recovered from the garden of a GHS member.Small collection of 3 bottles.bottles, glass bottle, coffee and chicory essence bottles

Pure wool, tan in colour, fine knit cardigan. Revere collar and five button opening. Two smaller buttons at each wrist. A 10.5cm wide ribbed panel extends from the chest to the lower band. Two rows of this rib also trim the cuffs together with the two small buttons. A flap pocket, also ribbed sits on each rib section on each front. Two cm cuff at wrist and a lower band.John Brown. Made in Australia PURE NEW WOOL M to Fit 38costume, male, cardigan

Arthur Edgar Pitcher (1891-3/1/1974) lived at 90 Somerville Street with his wife Beatrice Matilda (nee Lewis), who he married in 1915. Arthur was a carpenter.Black and white photograph mounted on rectangular brown board. House, weatherboard and rough cast 2 triple windows either side of front entry. Double front door panelled, half with leadlight glass. Half brick pillars to verandah with double support wooden trim above. Neat hedge picket fence with rail. Two chimneys. Iron roof. On back of photo: ' Mr. Pitcher, 90 Somerville Street, £900 sewered'Frank A. Jeffree Bendigobendigo, business, t c watts and son

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Born digital photograph of the fireplace in the fourth bedroom of Villa Alba. This is the only replacement fire place setting in the house. It was purchased with the support of a grant from the Bendigo Community Bank - Kew East Branch. The mantel, like that in the. third bedroom features garlands of polychrome painted flowers on the three panels. The mantel is inset with monochrome surround and hearth tiles. The latter is incomplete, missing the front row. All of the tiles were produced by Mintons Ltd.fireplaces, mintons, mintons - tiles, villa alba - fourth bedroom

Cypriot Bichrome Ware from Cypro-Geomteric PeriodWith two black bands around the inside of the mouth, the rim with sets of trapezoids and painted around edge, over a red band in cavetto under rim, the neck with frieze containing a panel centred with chequerboard diamond, the central square within painted red, broad band to shoulder, a black wavy line between painted twin horizontal loop handles (one missing), the lower body as a single band with a set of lines below it, foot painted. cypriot

Framed Olympic Games 1956 Photomontage print with Limited Edition Certificate attached. Presented to the South Gippsland Shire Council from the Olympic Games Committee, Sydney 2000. Cream card window mount with engraved text panel set in light brown wood frame. The photomontage features images of the the Olympic Torch and Commemorative medals atop with text and signatures above a collection of ephemera, memorabilia, items of clothing and objects relating to the Olympic games.

Yields information about the corner of Mair and Lydiard St soon after the Ballarat Electric Tramway opened.Digital Image of and ESCo tram north bound in Lydiard St North, at the intersection with Mair St. Shows the Ballarat Litho and Printing Co Propy Ltd building on the corner. Note the centre poles and the pole in the middle of the intersection. Has a number of horse drawn vehicles. Photo taken soon after opening as the destination sign is on the dash panel. From the Facebook group of old time photographs of yesterday. Titled "Lydiard St Ballarat Victoria"trams, tramways, mair st, lydiard st north, esco, postcards

Yields information about tram 35 and the Grenville St and Sturt St intersection and the streetscape.Agfa colour slide, white cardboard mount, photo by Keith Caldwell on 16/3/1963 of: Tram 35 at the Grenville St stop on the south side of Sturt St. Tram has the destination of Special and a Dancing at Civic Hall dash panel advert. In the background is the Shelter, Dickens, Gear Chemist, Spot Cafe, L Lescott tea rooms and Maypole. Parked is a bus with Avoca, Leeton, Waubra, Learmonth and Ballarat written on the side. In ink "16.3.63"tramways, trams, sturt st, grenville st, buses, shelters, tram 35

Black and white photograph of SEC trams No. 38 outbound along Albert St. Sebastopol, just prior to the intersection with the Hamilton Highway. Tram showing destination of "Sebastopol". Has large reflective triangles on the cabs panels. Hamilton direction sign alongside tram. Photo taken after the tram has passed the Photographer. Photograph by Jim Seletto. On Agfa paper. Colour photocopy, laminated, of this photograph on display 5/2000 at 02-02-06In black ink "In the leisurely days of 1956 (wot again) Ballarat 38 trundles out to Sebastopol on a midweek service - despite CRB notices trying to entice it out to Hamilton" and in a purple ink stamp Photograph by J. Seletto".trams, tramways, sebastopol, albert st, hamilton highway, tram 38

Agfa plastic mount (blue base, white cover) of a photograph of Nos. 36 and 27, trolley rope problems, Sturt St. West – Russell St or Victoria Park loop. Four crewman in photo, one on roof of tram using the emergency rope. Tram 36 has destination of Mt Pleasant, 27 has Sturt St. West. The Age and White Horse Whiskey ads on front panel of No. 27. Photo taken c1962. "BAS 23" in penciltramways, trams, accidents, sturt st. west, russell st., victoria park, tram 27, tram 36

Photo of SEC Ballarat Tram No. 43 turning from Sturt St. into Lydiard St North with the ANZ Bank building in the background. No. 43 has "Everything's under control in my all electric kitchen" SEC roof advertisement panel. Also in the background is the SEC offices building. Photo shows the Brill 22E trucks turning or curving around the curve. Kodak cardboard mount slide, taken by Peter Moses August 1971.On back of slide in red ink "N43 Ballarat / Turning into Lydiard St." and in bottom right hand corner in black ink "P. Moses" on the reverse side of slidetramways, trams, sturt st, lydiard st, anz, tram 43