Black and white photograph printed on postcard with a decorative printed frame. This one shows a view of Rutherglen across Lake King.Printed at bottom of photo: "Rutherglen"rutherglen views, lake king

This history was complied for the Stawell Football & Netball Club 1874-2011Black Card Cover with black initials in red circle, above grey print, above white print above logo, below which is The Authors Name.Grey Print: A History of White print: The Stawell Football club Print in Logo: Stawell Football & Netball Club Warriors By H.J. Melbourne stawell sport

Kodak print of Stawell Baptist Church with large trees out the front of Church. Doors of the Church are open.Black and white photo of Baptist Church with large trees out the front. The front doors of the Church are open.Kodak printstawell

Linocut print on paper. Printer's Proof.'P/P' under bottom left of printed area, 'GOI GOI' centred under printed section, signed on bottom right edge of print area. linocut, pattern, cultural reference

Print of a painting by Bill Walls. Fortuna Villa was the home of the Army Survey Regiment from 1942 - 1996. This print was printed by the Army Survey Regiment. A number of prints were produced at various sizes including the Unit Christmas cards.Print on heavy paper, laminated and printed by the Royal Australian Survey Corps, Army Survey Regiment, BendigoLabelled "Fortuna Villa" signed by Bill Wallsroyal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

PrintSigned and dated lower right corner beneath printed image "Sue Frazer 95" Edition 14/30, lower left corner under printed image Titled "Travellin' Light" in centre below printed image

Coloured linocut printSigned and dated along bottom of print.yallourn, landscape, linocut

Black and white postcard photograph, with an ornate printed frame, showing a church building with spire.Printed on back of card in the space for a stamp: "Printed in Australia"st stephens church, saint stephens church, church buildings

The Diamond Creek in flood near the Main Road bridge at Eltham, Victoria. The Yarra also was in flood. In early December 1934 the "Greatest flood in the history of the Yarra" occured, according to The Argus newspaper. Bridges and houses were swept away with hundreds of people left homeless across the state. The historic 1934 flood of the Diamond Creek and Yarra River set the criteria for future planning with respect to flood water rise. Noted on reverse of print - Copied by Hugh Fisher, 82 Lygon St., BrunswickThis 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 image 4 x 5 inch B&W Neg (2 frames on one neg) Print 9 x 15.5 cmOn reverse of print - "Copied by Hugh Fisher, 82 Lygon St., Brunswick" (for Shire of Eltham)sepp, shire of eltham pioneers photograph collection, eltham, floods, 1934 flood, diamond creek (creek), floodwater

James Tissot is most famous for his artwork that depicts the European bourgeois society of the late 19th century. This societal period is often referred to as La Belle Époque, where affluent bourgeoisie living created a complicated mode of manners and dress. This subject matter used in his art made Tissot popular with the bourgeois society, however it made him unpopular with critics who deemed his works as of loose morals due to his subject matter. Tissot’s art style of Realism also put him at odds with his fellow artists and friends such as Degas and Manet who were greats of the European Impressionist movement. This print was made using the printmaking technique of etching, which allowed Tissot to make multiply prints of a particular artwork to sell on mass at a more affordable price to the general population who wished to emulate the bourgeoisie lifestyle of the wealthy.RealismRural City of Wangaratta Collection, Purchased with funds from the Wangaratta Art CouncilA rectangular portrait etching of a 19th century European young lady dressed in her best attire seated in a fashionable manner, printed in black ink on white paper. Obverse: J J Tissot/ 1883 (Artist's signature and date - located in the bottom right corner of the print)james tissot, 19th century, print, etching, portrait, tissot, wangaratta art gallery

Print of a painting of Fortuna Villa by Ruth Edwards 1991. Fortuna Villa was the home of the Army Survey Regiment from 1942 - 1996. This print was printed by the Army Survey Regiment. A number of prints were produced at various sizes including Unit Christmas cards. Print of a painting on parchment paper, laminated. printed by the Royal Australian Survey Corps, Army Survey RegimentLabelled "Fortuna Villa" signed by Ruth Edwardsroyal australian survey corps, rasvy, fortuna, army survey regiment, army svy regt, asr

Bereavement thanks sent to GHS following the death of member Margaret Willimott.Mrs Willimott was a member of Greensborough Historical Society and former teacher at Watsonia High and Greensborough Secondary College.Printed letter in envelope, colour portrait.Handwritten names on printed letter.margaret willimott

Linocut print on paper. Printer's Proof.'P/P' below printed section bottom left, 'Iian Mask II' under printed section centre, signed along bottom right edge of print. linocut, symbolism, pattern, line

Photo RAN.Colour print of photo of Royal Australian Navy Task Group. From left: HMA ships Adelaide, Stalwart, Torrens, Supply, Vampire, Canberra & Swan. Print is No 81 in a series of 25. Print is mounted with white border, gold metal frame with masonite backing & wire hanging strap.Printed on bottom at RHS under print: “ROYAL AUSTRALIAN NAVY 75TH ANNIVERSARY”photograph, 75th, anniversary, ran

Paper book mark. Printed picture and Psalm 73.24 plus cream silk.Printed in Englandbooks, bookmark

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Print - lithographBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, garden, evening, lithograph

This image depicts a scene from the fairytale 'Little Red Riding Hood'Framed antique print of Rothkappchen (Little Red Riding Hood). The print is backed by canvas.Beneath print : Praimie Zum Omnibus Rothkappchenrothkappchen, little red riding hood, fairytale

Two colour slides of children aboard a sailing ship for Operation Float, there are refreshments available. Operation Float was an event run by Melbourne Legacy to take Junior legatees on an outing. It could have been to naval boats such as HMAS Cerberus or to a Yacht club. It gave the junior legatees the opportunity to see a naval boat in action, spend time on the water or try sailing. Part of a set of slides that are printed on Ektachrome and discoloured to a pink tinge. The year is possibly 1961 as one slide has the date on it. Was with many other slides taken in the 1950s and 1960s. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image the best available.A record of outings being organised for children.Colour slide x 2 of a sailing ship in Kodak Ektachrome cardboard mount with yellow and blue print.Printed on front 'Made in USA' in blue ink. Embossed with '2' in one corner. Other slide has '3' embossed in one corner. Printed on reverse "Kodak Ektachrome Transparency / Processed by Kodak" in blue ink.operation float, junior legatee outings

The fire screen was part of the original furnishings of the Lighthouse Keeper's Quarters in Merri Street, Warrnambool. It was made by Lighthouse Keeper, Thomas Hope. Thomas served two terms as an assistant lighthouse keeper in Warrnambool. His first term was from 1905 to 1907. He later returned from 1910 to 1913, when he was appointed as Keeper five months after the untimely death of his predecessor Peter Quinn. Woodworking was one of Thomas Hope’s hobbies, and the three-panel fire screen he made as a lighthouse keeper is now in the Flagstaff collection and is displayed in the Lighthouse Keeper’s Cottage. Thomas Hope 1857 - 1928 Thomas James Hope was born in Camden, Surrey, England in 1857. His father, also called Thomas, was reputed to be a member of the Royal Family, and Thomas Hope Junior his illegitimate son. Thomas was subsequently brought up on the estate of the Earl of Hopetoun in Somerset and it was thought that Thomas was the Earl’s grandson. Against the wishes of those in charge of Thomas, he joined the navy at an early age, seeing much of the world until he settled in New Zealand at the age of twenty-four. After some years in New Zealand, he came to Australia to live. One of the jobs Thomas Hope had prior to becoming an assistant lighthouse keeper in 1896 was as a cook in the Lunatic Asylum at Sunbury, Victoria. He served as an assistant keeper at Shortlands Bluff, Gabo Island, Split Point and Warrnambool, retiring in 1918. He bought a house in Nicholson St, Warrnambool and died in March 1928. He is buried in the Warrnambool cemetery. Thomas Hope is recorded in family history as being of short stature and, not surprisingly given his alleged aristocratic connections, possessed a beautiful speaking voice. He and his wife Elizabeth nee Waters, whom he married in New Zealand, had six children (Thomas, killed in World War One), Ellen (Nell), Nora (who was married at the Warrnambool lighthouse keepers cottage), William (who died in Warrnambool), Marion and Alan. Joseph Hoover (Dec 29, 1830, to Aug 7, 1913) Joseph Hoover, the printer of the pictures on the screen, was born in Baltimore, of Swiss-German heritage. He was trained as an architectural woodturner. In 1856 Hoover moved to Philadelphia and began producing elaborate wooden frames in his wood-turning and framing business. By 1865 Hoover had started to produce popular prints for publishers and artists, which included noted Philadelphia artist James F. Queen. In the 1880s Hoover set up a complete plant specialising in chromatography, the process of producing colour prints from lithographic plates. The coloured prints he produced were affordable to business and private customers. In 1893 his son Henry L., a trained lithographer, joined the company as overseer and it was called J. Hoover & Son. It became one of the largest in America by the turn of the century. Hoover won a medal for Excellence for his Chromolithographs of James Queen’s works. In 1904 Joseph’s other son, Joseph W, joined the business as a partner and the company was called Jos. Hoover & Sons. Hoover died of a heart attack in 1913. He was survived by his wife and six children: two sons who were also his business partners, and four daughters. The firm continued in production until around 1985. Hoover’s prints included scenes, still life and landscapes of America and other locations. They were sold in America and overseas to countries including Canada, Germany, Mexico and England. The three-panelled screen in the Lighthouse Keeper’s Cottage was made by the Assistant Lighthouse Keeper, Thomas Hope during one of his two terms at the Lighthouse Keepers' Quarters. It is the only object in the collection known to be connected to Hope. The Lighthouse Keeper's Cottage is part of the Lady Bay Lighthouse Complex, which is listed on the Victorian Heritage Register for being of historical, scientific (technological) and architectural significance to the State of Victoria.Fire screen comprising three black wood framed panels hinged together. Each panel contains a glass-encased print depicting a rural landscape. Ornate stencil cut wood edging and quilt-inspired parquetry sits above each panel. The central panel is taller than those either side. Screen is lined in black-painted cardboard.Printed at the base of each of the three prints “COPYRIGHT 1896 BY J. HOOVER & SON, PHILAD’’A.”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, firescreen, thomas hope junior, ellen (nell) hope, nora hope, william hope, marion hope, alan hope, jos. hoover & sons of philadelphia, lighthouse keeper, assistant lighthouse keeper, carved screen, merri street, lighthouse keeper's cottage, lighthouse residence, lighthouse, wood carving, lighthouse complex, lady bay lighthouse, fire screen

Mezzotint printSigned and dated 'Graeme Peebles 84' in lower right corner under printed image. Titled 'Wilson's Prom' centred below printed image. Edition 22/40, inscribed lower left corner under print.

Photo shows tram 33 parked in the City loop during an afternoon early to July 1970 The tram has a Twin Lakes sign and the destination of Mt Pleasant, along with an auxiliary board advertising "Alf Garnet at the Vegas 70 Cinema". In the background is the Dickins Food store and Thomas Jewellers. Note the Section Insulators above the tram on both tracks.Yields information about tram operations and advertising July 1970.Colour print - digital printed made 12/22Has notes on the rear of the print about the photographer, address and dates.tramways, tramcars, tram 33, city loop, ballarat, alf garnett, section insulators

Photo shows tram 41 (Lydiard St Nth) and 20 stopped at the City terminus, corner of Lydiard and Sturt Streets. In the background is Ballarat Town Hall. Tram 41 has an auxiliary board advertising Alf Garnett at the Vegas 70 Cinema. Tram 20 was "destroyed" in a collision in Victoria Street during September 1970.Yields information about tram operations and advertising July 1970.Colour print - digital printed made 12/22Has notes on the rear of the print about the photographer, address and dates.tramways, tramcars, ballarat, alf garnett, sturt st, tran 41, tram 20

Photo shows Bendigo 18, painted in the Bendigo Trust colour scheme at the Mine terminus, late 1980's or early 1990s. It was originally converted by the SEC to a one-man tram but not used as such. Converted by the Bendigo Trust to a enclosed car with entries at either ends. Operated by the Ballarat Tramway Museum during 2001 to 2005 to celebrate 150 years of Gold, where it carried its Melbourne number of 45. Currently operated by the Bendigo Tramways as No. 45.Yields information about Bendigo Tramways tramcar 18 /45.Colour print - digital printed made 12/22Has notes on the rear of the print about the photographer, address and dates.tramways, tramcars, tram 18, bendigo, bendigo tramways, tram 45

Geelong Tramcar No. 18, freshly painted, in Corio Tce. with Strachan & Co's wool store in the background. The car has been converted for one man operation but retains the MESCo's double lineouts that were replaced by single yellow lines in the 1940s. It is likely that the photographs were taken to display the conversion in 1939. See also Item 9242.Black and white print on paper12-6 and GRS170/12/1/6 printed on reverse in pencil. No. 1 in a circle printed on the reverse in pen.geelong tramcar, geelong tramcar no. 18, strachan and co. wool store, geelong, tramcar one-man operator conversion

Printed coloured photographic postcard with two smaller images contained in oval frames on a green background. The left hand image is of a path through an avenue of trees and the right hand image is of a tiered waterfall with a background of trees. Both images are each framed by an oval frame supported by an easel. The words A Shady Walk are printed below the left hand image and Rushing Waters below the right hand image. On the reverse the words Printed in Saxony are printed in red on left hand side. Handwriting covers the rest of the space and a one penny stamp is affixed.Printed in Saxonypostcard

Josiah Earl BARNES (Australian, 1858–1921) was a noted WW1 photographer who took many photographs of departing troopships and men. The Australian War Memorial holds around 1,436 negatives and prints by J.E. Barnes. His daughter, D. Barnes (married name Smyth) was also a photographer and lived in Diamond Creek from around 1910 to circa 1940.JEB lower right of printdavid smyth collection, water supply, water tank

On August 30 2011, members of th Greensborough Historical Society manned an information stall and display at the Winter in Banyule Festival at Greensborough Plaza. These photos depict members and family during the set up of the display.Behind the scenes photos of display. This was also the first public sale of issue 1 of the Greensborough postcards.Printed copy of 4 digital colour photographs.Names of subjects handwritten on printwinter in banyule 2011, greensborough historical society, sue ballantyne, anne paul, greensborough plaza

Federation University site plan made for the Ballarat College of Advanced Education Printed architectural plan of the Mount Helen campusprinted with location names and symbolssite plan, federation university, ballarat college of advanced education, mount helen campus, campus plan