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Clunes Museum
Photograph, J.R. TANNER - PHOTOGRAPHER, CLUNES, CIRCA 1880
JANE DAVIDSON - SCHOOLTEACHER AT CLUNES. ORIGINAL PHOTOGRAPH OWNED BY MRS. ISOBEL FOXSEPIA COPY OF JANE DAVIDSON STANDING BY READING TABLE.local history, photography, photographs, costumes - female -
Clunes Museum
Photograph, 1930 - 1935
PHOTOGRAPH OF CLUNES FIRE BRIGADE COMPETITION TEAM CIRCA 1935 - 2. BERT ALLEN - 3. DAVE DOWIE - 5. NED SPARKS - 6. JACK ALLEN - 8. ARTHUR LEAN - 9. BOB WINGATE.COPY OF SEPIA PHOTOGRAPH MOUNTED ON CARDBOARD OF CLUNES FIRE BRIGADE C 1935. TEN MEMBERS WITH HOSE AND REEL.SOME MEN NAMED BELOW PHOTOlocal history, photography, photographs, fire brigade -
Clunes Museum
Photograph, J.R. TANNER, PHOTOGRAPHER, CIRCA 1864
JANE DAVIDSON WIFE OF ALEXANDER GLADSTONE DAVIDSON MARRIED 20TH. OCTOBER 1864 BY THE REV. JAMES BALLANTYNE. MOTHER OF NINE CHILDREN. ORIGINAL PHOTOGRAPH OWNED BY MRS. ISOBEL FOXTWO PHOTOGRAPHS [COPIES] 1 SEPIA AND 1 BLACK AND WHITE OF JANE DAVIDSON, WIFE OF ALEXANDER GLADSTONE DAVIDSON, MARRIED 24TH OCTOBER 1864 BY THE REV. JAMES BALLANTYNE. MOTHER OF NINE CHILDREN.local history, photography, photographs, costumes - female -
Clunes Museum
Photograph, CIRCA 1862
ORIGINAL PHOTOGRAPH OWNED BY MRS. ISOBEL FOX. ORIGINAL ST. PAULS CHURCH OF ENGLAND CLUNES 1862 MOVED FROM FRASER STREET CLUNES TO TEMPLETON STREET , AND IS NOW THE CHURCH HALL.SEPIA COPY OF PHOTOGRAPH OF ST. PAULS CHURCH OF ENGLAND. ORIGINAL ST. PAUL'S CHURCH OF ENGLAND 1862.local history, photography, photographs, churches st.pauls anglican -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Nature Morte (Aliment), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Nature Morte (Flora), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Clunes Museum
photograph, Hornby of Clunes
OLIO - STAGE CURTAIN [PHOTOGRAPH] IN CLUNES TOWN HALL.PHOTOGRAPH OF AN OLIO - STAGE CURTAIN - OIL PAINTING LAND SCAPE PART OF STAGE SET.local history, photography, photographs, town hall -
Bendigo Historical Society Inc.
Document - BAKER & WOODS ELECTRICAL ENGINEERS AND PHOTO STOCK DEALERS, 23/07/1914
Established in 1897, Baker and Woods were initially electricians. The property in Hargreaves was taken over by a saddler and Baker and Woods moved to premises at 313 Hargreaves Street. The business expanded to include photographic equipment, phonographs and phot development. In 1903, Baker and Woods were responsible for converting the gas lighting in the Bendigo Town Hall to electricity. A fire caused by a short circuit caused extensive damage to the building in 1914.Baker & Woods Electrical Engineers and Photo Stock Dealers. Cream paper with Black print. At the top Hargreaves Street, Bendigo, Docket 221. Bought of Baker & Woods, Electrical Engineers and Photo Stock Dealers. Written in Pencil on the Docket is *Prairie. July 18 1914. Mr J. R. Stephens. Items listed:- Developing Film 1/6, Printing 24 Postcards 3/- 6/, postage -4p = 7/10. On the back written in blue biro is - 1290B. Box 625business, retail, photography, hargreaves street bendigo. baker & woods. -
Bendigo Historical Society Inc.
Document - BAKER & WOODS ELECTRICAL ENGINEERS AND PHOTO STOCK DEALERS, 18/07/1914
Established in 1897, Baker and Woods were initially electricians. The property in Hargreaves was taken over by a saddler and Baker and Woods moved to premises at 313 Hargreaves Street. The business expanded to include photographic equipment, phonographs and phot development. In 1903, Baker and Woods were responsible for converting the gas lighting in the Bendigo Town Hall to electricity. A fire caused by a short circuit caused extensive damage to the building in 1914.Baker & Woods Electrical Engineers and Photo Stock Dealers: Cream paper with black print. At the top is *Hargreaves Street, Bendigo 1914. Brought of Baker & Woods, Electrical Engineers and photo Stock Dealers. Docket no. 221. Hand written in pencil is Prairie. Mr J.R. Stephens. Items purchased were:- 1 No. 3 A film, 6 Exposure cost 1/9. Dated July 18th 1914. Box 625business, retail, photography, hargreaves street. baker & woods. -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Nature Morte (Exploitation), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Nature Morte (Colonisation), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Invasion (UFO Possums), 2016
Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Invasion (Giant Birds), 2016
Invasion places an imaginative eye in Australian colonial history and turns around the dominant view, taking alien creatures into iconic London-based cityscapes, with white urban residents their victims. Cook's images express the shock that enveloped the Australian continent when European people appeared on Aboriginal shores. Aboriginals as aliens, sci-fi scaled animals - featherless birds, super sized grubs, giant lizards, possums on ufo's, laser shooting fembots, and clouds of rainbow lorikeets - arrive into urban London, the 'mother' country, and wreak havoc. Within the broad narrative are mini narratives that speak to the past, historical references that tease out and reverse the racist practices imposed on Aboriginals. The drama of such an event heightened with the use of vintage-inspired B-grade horror movie aesthetic - an ironic 'spoofy' edge.australian first nations art, photography, colonialisation, sci-fi -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Nature Morte (Veiled Bird), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Michael Cook, Nature Morte (Blackbird), 2021
A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment -
Wyndham Art Gallery (Wyndham City Council)
Photograph, Anne Scott Wilson, Portrait Landscape, 2013
Anne Scott Wilson is a video and photography artist interested in memory, motion and the body. Her work often experiments with movement and light exposure over time. The images in Fly Rhythm series record landscapes from the Dandenong Ranges to Altona and were produced for an exhibition at the Wyndham Art Gallery called EXPERIMENT in 2012.australian art, australian photography, photography, female artist -
Clunes Museum
Photograph, C. NETTLETON, MELBOURNE, YANKEE QUARTZ MINING COMPANY, CIRCA 1865
A PHOTOGRAPH OF THE YANKEE QUARTZ MINE IN CLUNES.1 SEPIA PHOTOGRAPH OF THE YANKEE QUARTZ MINING COMPANY, REGISTERED, CLUNES. .2 .3 SMALL PHOTO PRINTS OF SEPIA PHOTOGRAPH local history, photography, photographs, mining -
Clunes Museum
Photograph, METHODIST CHURCH
LOANED BY MRS. MARSHALLSEA TO COPY.3 BLACK AND WHITE PHOTOGRAPHS OF THE METHODIST CHURCH, SERVICE STREET CLUNES. NOW THE WESLEYAN CHURCH AT WESLEY COLLEGElocal history, photography, photographs, churches - wesley -
Clunes Museum
Photograph, ROGER PURCELL, COPY 1997
THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. A. KERSHAW. VICE PRES. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club -
Clunes Museum
Photograph, ROGER PURCELL, COPY 1997
THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR.C. FAWCETT. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club -
Clunes Museum
Photograph, ROGER PURCELL, COPY 1997
THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. T. NICHOL. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club -
Clunes Museum
Photograph, ROGER PURCELL, COPY 1997
THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. J.W. PRESTON. TRES (sic) MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club -
Clunes Museum
Photograph, ROGER PURCELL, COPY 1997
THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. G. FRASER. VICE PRES. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club -
Clunes Museum
Photograph, ROGER PURCELL, COPY 1997
THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. J. BURNS. SEC MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club -
Clunes Museum
Photograph, ROGER PURCELL, COPY 1997
THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR.M. KENNEDY. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club -
Clunes Museum
Photograph, ROGER PURCELL, COPY 1997
THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR.W. JENKINS. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club -
Clunes Museum
Photograph, ROGER PURCELL, COPY 1997
THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR.T. FAWCETT. VICE PRES. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club -
Clunes Museum
Photograph, ROGER PURCELL, COPY 1997
THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. J. FAWCETT. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club -
Clunes Museum
Photograph, ROGER PURCELL, COPY 1997
THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. J. OXLEY. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club -
Clunes Museum
Photograph, ROGER PURCELL, COPY 1997
THIS COPY OF PHOTOGRAPH WAS TAKEN FROM COLLAGE OF CLUNES GUN CLUB. JANUARY 1903. REG. NO. OF COLLAGE 1001.1.2.3COPY OF PHOTOGRAPH OF MR. J. GALLAWAY. MEMBER OF CLUNES GUN CLUBlocal history, photography, photographs, gun club