The Shrine of Remebrance in Melbourne occupies a special place both in the physical landscape of the city and in the hearts of Victorians - and indeed of all Australians.shrine of remembrance (melbourne, vic.), war memorials - victoria - melbourne

viii, 100 p.; 25 cmnon-fictionA commemorative work detailing the accomplishments of Italian immigrant, Carlo Catani who rose to become Victoria's Engineer-in-Chief of the Public Works Department 1890 - 1917. A much valued and loved public servant, Catani was responsible for the creation of new townships, roadways, the reclamation of swamplands, the opening up of new farmland, major landscaping projects, and giving Victorians access to scenic beauty spots across the State. In this dedicated compendium, historic praise and centennial commemorative events honouring his passing are also well recorded. carlo catani, engineering

The large landscape of Airey’s Inlet was painted by the renowned Australian artist Charles Bush. It is a view of Airey’s Inlet, a small seaside town on the Great Ocean Road, about 120km southwest of Melbourne. Airey’s Inlet is one of the oldest settlements on this part of the Victorian coast. It derives its name from John Airey, who took up a pastoral lease at Point Roadknight, slightly to the east, in 1839. The landscape is painted in oil on board. The view depicted looks over the inlet and Painkalac Creek towards the Split Point lighthouse, built in 1891. There is a yacht sailing on the inlet, and figures on the path in the middle distance. In the left foreground is a painter at an easel, probably Bush’s longtime companion and fellow artist Phyl Waterhouse. The picture is framed, and measures 105 x 136cm overall. It was probably painted in the early 1950s. A brass plaque attached to the frame records that it is the gift of W.E.A. Hughes-Jones, a member of the Court of Examiners from 1952 to 1962. Artist Charles Bush (1919-1989) was born in the inner Melbourne suburb of Fitzroy on 23 November 1919. After attending high school in Coburg, he entered the National Gallery of Victoria art school in 1934 and studied under W.B. McInnes. He enlisted in 1940, and was appointed an official war artist from 1943 to 1946. In 1950 he won a British Council travel grant which enabled him to go on a study tour of Great Britain and Europe. A versatile and gifted artist, he won many prizes and awards throughout his career. He was equally at home in many genres of painting and drawing, but he excelled at portraits and landscapes. He died in Melbourne in November 1989.ARTISTS SIGNATURE BOTTOM RIGHT "BUSH"airey’s inlet, charles bush, w.e.a. hughes-jones

Summary For over 250 years the Withers family of Birmingham worked as tailors, sometimes also as butchers. During the Georgian era, English society changed and the Withers family with it. First came a gentleman amateur artist in the form of Edward Weston Withers, grandfather of Walter Withers. Then Edwin Withers, Walter Withers' father, took to tobacco, rope and twine manufacturing which put an end to the traditions of butchery and tailoring.The origins of Walter's painterly ambitions are explored. There was a physical altercation between Walter and his father, Edwin. That fight emerged out of contradictory expectations between Walter's father, Edwin and his grandfather Edward. Those expectations and the societies which kindled them contributed to Walter's character and art. Up until now there has been no family history about Walter Herbert Withers (1854-1914) a notable Australian landscape artist of the Heidelberg school and friend to Tom Roberts, Frederick McCubbin, Arthur Streeton and Clara Southern. Walter, the son of a rich Victorian businessman, married Fanny Flinn, the daughter of a commercial salesman who also owned part of a Birmingham brewery. In No Place Quite Like It, Walter, his wife Fanny and his family are depicted against the social contexts in which they each grew up. Our appreciation of Walter Withers' art is expanded: by knowing those forces which helped shape his early years and how he responded to them; by gaining new insights into his origins and how he grew into the man he was. We also gain a fresh appreciation of his wife Fanny, and the influence she had upon him, their children, and upon the society in which she lived. Includes 200 pages of text, Prefaces by Andrew Mackenzie OAM (art historian), and Eileen Mackley AM (President, Victorian Artists Society), Bibliography and an Index, extensive images, maps, charts and family trees, provide a visual porthole through which an insight might be had into the lives and times of Walter Withers and his family history.walter withers, fanny withers (nee flinn), family history

ARTIST WALTER WITHEBS, whose pictures are now on exhibition at his Melbourne studio on Wednesdays and Saturdays, is an Englishman by birth, but an ardent Australian by adoption. His landscapes are "racy of the soil,” and amongst the most successful work of the kind done by Victorian artists. Withers does most of his work at his Heidelberg home, where he leads a serene life of artistic simplicity amidst the most picturesque surroundings. PEOPLE WE KNOW (1897, June 17). Melbourne Punch (Vic. : 1855 - 1900), p. 2. Retrieved August 22, 2023, from http://nla.gov.au/nla.news-article174626232Journal inscribed: "Mrs Withers 463 Collins St. West Melbourne"art exhibition, art review, john withers collection, melbourne, walter withers studio, 463 collins street west, walter herbert withers, artist

2 rows of 9 men in uniform posing for studio portrait. Landscape B/W.Victorian Rangers Stawell 1890'smilitary, boer war

Robin Boyd met architect Neil Clerehan at the end of 1943 when they were both in the army. They worked together on Victorian Small Homes Service and were friends.Watercolour of a mining building in an outback landscape.On the reverse side "Neil Clerehan, 1945" on top left in blue pen, and "No 8" on bottom right in pencil.neil clerehan, robin boyd, ohm2022, ohm2022_29

Reproduction of the 1835 journal of Andrew/William Todd, recorder and assistant to John Batman, with numerous contemporary illustrations of early settlements and landscapes. Notes on the customs and many incidents with Victorian and Tasmanian Aborigines.maps, b&w illustrations, b&w photographsjohn batman, victorian history, andrew todd, william todd

This work is a collection of twelve essays that are concerned with place names, clan organisation and local and regional Aboriginal history.maps, document reproductionsdjab wurrung, ngengen wurrung, koroitgundidj, dhauwurud wurrung, djab wurrung, barababaraba, daung wurrung, taungurung, dja dja wurrung, jardwadjali, jodajoda, yorta yorta, nguri-illam wurrung, waywurru, koroit, buangor, mt eccles, mt napier, langi ghiran, grampians national park, massacres, clan organization, land tenure, george augustus robinson, samuel carter, aldo massola, alfred william howitt

Lists each site and gives details.maps, word listsjardwadjali, djab wurrung, djabwurrung, rock art, grampians national park, gariwerd, major thomas l mitchell, aboriginal place names

Set of 5 documents for the "Farewell to Bendigo Trams" tour conducted by the ARHS Vic Div and the TMSV, first scheduled for Sat. 12/2/1972, but delayed to Sat. 4/3/1972 due to SECV Power restrictions on the day. 3277.1 - documents 1 to 3 stapled in top left hand corner. 1. Tour circular, printed on pink paper with a photo of No. 28 at Golden Square terminus. Has logos of ARHS Vic Div and TMSV, part missing - used for booking. Gives details of the purpose of the tour, approx. times, refreshments, a booklet and fares. Organiser Victor Isaacs and Neil Morrow Booking Officer. Printed on foolscap paper in landscape format 2. Victorian Railways S Circular, or special train notice, S.224/72, single page giving train schedules, loads, motive power, carriage numbers and tickets. Signed by J.C. Crute as Chief Traffic Manager. Dated 19/1/1972. Printed on foolscap paper. 3. Ticket circular printed on quarto paper giving times of departure and arrival back, noting its express run to Melbourne. 3277.2 - documents 4 to 5, stapled in top left hand corner. 4. Set of two sheets, one printed on foolscap card paper, the other on foolscap paper, giving a graph of the tram workings, showing the special trams (tours A and B) overlain with the Saturday timetable. Dated 4/3/1972. 5. Victorian Railways S Circular, or special train notice, S.435/72, single page giving train schedules, loads, motive power, carriage numbers and tickets. Signed by J.C. Crute as Chief Traffic Manager. Dated 11/2/1972. Printed on foolscap paper. Noted that the special train of 12/2/1972 is cancelled "Due to SECV Restrictions". Has return train timetabled for 2 hours and five minutes. (Additional copies of item 4 - graph on one sheet only and item 5 - added 3/10/2007 - ex Graeme Breydon materials) 3277.3 - Welcome Aboard Circular - red foolscap paper, giving train time summary, photostops, arrangements in Bendigo, Bendigo line history and tram tours. Images of document added 27-08-12.arhs, special trains, bendigo, tmsv, timetables

When Thomas Bent, politician and land speculator, was appointed Speaker of the Victorian Legislative Assembly in 1892, a number of local Brighton constituents and supporters raised money to present him with an oil portrait. Bent had been a member for Brighton for 21 years, and the painting was seen as a way of showing their appreciation of his services to the Brighton constituency, as well as congratulating him to his new position as Speaker. In June 1892, British/Australian landscape and portrait artist Charles E. Gordon-Frazer was given the commission to paint the portrait. Thomas Bent is depicted as standing in his Speaker's robe on the dais beneath the canopy in the Legislative Assembly Chamber in the act of addressing the House. He wears the traditional Speaker’s dress of a black silk and gold laced robe over a three-piece black suit, lace jabot and cuffs, buckled shoes and a ceremonial long wig. The top of the gold parliamentary mace sits on the right of the work near the frame's edge.sir thomas bent, thomas bent, speaker, mayor, premier, brighton, moorabbin, land speculator, local government, councillor, official, member of lower house, portrait, parliament, ceremonial robes, legislative assembly, jabot, wig, mace

Born: Devon, Devonshire, England 1839; Arrived: Melbourne, Victoria, Australia 1868; Died: Melbourne, Victoria, Australia 1901VictorianLedger Gift, 1978Australian bush scene with two figures, a horse and a dog on a track with trees, hills, clouds and sky. Unframed.Recto: Signed and dated "J W CURTIS / 82" in black oil in l.l.c of composition; Not titledpainting, landscape, figure, horse, animal, trees, colonial, path, track

Born: Bradford, Yorkshire, England 1850; Arrived: Victoria, Australia c.1874; Died: Melbourne, Victoria, Australia 1908VictorianGift of Mr S.T.Staughton, 1978Rural landscape with animals at waters edge, trees, packed wagon and figures around a fire. Gold plated gesso on timber frame.Recto: Not signed, not dated, not titledpainting, landscape, figure, animals, wagon, horses, water, reflection, wheels, colonial

Born: Morges, Vaud, Switzerland 1814; Lived and worked: Brazil 1835-1852; Arrived: Melbourne, Victoria, Australia 1865; Died: Melbourne, Victoria, Australia, 1888VictorianLedger Gift, 1979Rural landscape with rustic hut, pile of wood, figures, trees, hill and sky. Unframed.Recto: Signed and dated "L. Buvelot 1868" in brown watercolour in l.r.c of composition; Not titledwatercolour, landscape, house, figures, hills, trees, rural

Born: The Hague, Netherlands 1801; Arrived: Melbourne, Victoria, Australia 1853; Died: Melbourne, Victoria, Australia 1879VictorianGift of Wooleen Pty. Ltd., 1980Rural colonial forested landscape with animals, figures trees and mountains. Gold brushed timber frame.Recto: Signed "H.L.V.d.Houten / [illegible]" in brown oil in l.r.c of composition; Not dated; Not titledpainting, landscape, trees, figures, animals, buildings, mountains, colonial, horse, dog

Born: Isleworth, Middlesex, England 1831; Arrived: Melbourne, Victoria, Australia 1870; Died: Melbourne, Victoria, Australia 1897VictorianGift of Mrs E.E. Ledger, 1982Rural landscape with house, fences, trees hills, a creek and a small figure carrying a fishing line. Thin, dark blue grey brushed timber frame.Recto: Signed "PARSONS" in black watercolour in l.l.c of composition; Not dated; Not titledwatercolour, landscape, tree, mountains, animals, cows, figures, fence, creek, colonial, buildings

Born: South Yarra, Victoria, Australia 1869; Died: Mornington, Victoria, Australia 1930VictorianLedger Gift, 1985Sunlit rural landscape with buildings, figures, wagon, trees, water, reflections and a hill. Gold brushed ornate timber frame.Recto: Signed and dated "C. S. BENNETT / 1891" in brown watercolour in l.r.c; Not titledwatercolour, landscape, riverscape, house, trees, water, reflection

Born: Londesborough, Yorkshire, England 1862; Arrived: Sydney, New South Wales Australia 1885; Lived and worked: England 1893-1896; Died: Montrose, Victoria, Australia 1935VictorianLedger Gift, 1985Rural landscape with large weeping tree, fence, rolling hills, line of trees and sky. Grey rubbed from gold gesso timber frameRecto: Signed "BLAMIRE YOUNG-" in white watercolour in l.l.c of composition; Not dated; Not titledwatercolour, landscape, trees, fence

Born: Edinburgh, Scotland c.1818; Arrived: Melbourne, Victoria, Australia c.1867; Died: Sydney, New South Wales, Australia 1900VictorianGift of Mrs E.E. Ledger, 1985Rural landscape with dirt track, narrow stream, trees and steep mountains. Gold brushed and painted timber frame.Recto: Signed and dated “J H Carse / 1866” in brown oil, l.r.c of composition; Not titled painting, landscape, mountains, river, clouds, sky, trees

Born: Dundee, Forfarshire,Scotland 1851; Arrived: Melbourne, Victoria, Australia 1872; Lived and worked: Scotland 1875-1884; Died: Carlton, Victoria, Australia 1912VictorianLedger Bequest, 1993Oil on canvas on composition board, depicting a rural landscape and miner's commune off a dirt road. Gold brushed timber frame with decorative gesso edges and corners Recto: Signed and dated “J FORD PATERSON / 1884” in blue oil in l.r.c of composition; Not titledpainting, landscape, house, trees, path, road

Born: Melbourne, Victoria, Australia 1848; Lived and worked: New Zealand 1866-1877, New Zealand, United Kingdom, United States 1892-1905; Papua New Guinea 1916 and 1918; Died: Macedon, Victoria, Australia 1922VictorianLedger Bequest, 1993Watercolour and gouache on paper depicting pink flowers and yellow butterflies in a sparse field. Gold brushed timber frame with off white window mountRecto: Signed "Ellis Rowan" in red watercolour in l.l.c of composition; Not dated; Not titledwatercolour, landscape, flowers, sky, clouds, trees, butterflies

Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015

Landscape painting of a pine in the Australian bush landscape. Painted just after the devastating Victorian bushfires of 1962. Two figures run down the hill in the foreground. There are hills in the background and the sky is shades of pink and violet. Painted in warm earth tones in a painterly, tonal realist style.Lower right, grey paint, signature: 'Sonia Skipper'

Maidstone began as an 1858 speculative township on Ballarat Road, grew slowly due to isolation from rail transport, then expanded rapidly in the 20th century through tram extensions, defence industries, migrant hostels, and Housing Commission estates.Today it is a diverse, residential‑industrial suburb shaped by waves of working‑class settlement, post‑war migration, and late‑20th‑century redevelopment. Early Foundations (1840s–1860s- The broader district saw activity from the 1840s, including Joseph Raleigh’s meat‑preserving works on the Maribyrnong River, which sat on the boundary of what became Maidstone. - Land speculator J.W. Thompson launched the township with great fanfare, including a German band and a banner proclaiming “Every man his own landlord.” - Despite the marketing, by 1860 only about ten homes existed. - - Maidstone grew slowly because it was isolated from the railway, relying instead on punts across the Maribyrnong River. - A National School opened in 1858, but the area remained sparsely settled. - The district’s early industrial landscape included: - Raleigh’s meat works (1843) - Victorian Powder Magazine, later expanded for military use These sites later became part of Pipemakers Park and the Living Museum of the West. - The arrival of trams from Footscray in 1921 finally unlocked residential growth. - A Progress Association formed, and the suburb gained amenities including its own cinema in the 1940s. - Housing stock from this era included weatherboard, Art Deco, and Californian Bungalow homes. Town of Maidstone North Footscray Within 15 Minutes of Melbourne To be sold by Auction on Saturday 5th June 1886 at 3 O'Clock on the ground J. M. Barr Nicholson Street Footscraymaidstone

The St. Albans State School, now the St. Albans Primary School opened in 1889 and is one of the oldest continuously operating schools in Melbourne’s western suburbs. The school was founded by early farming families shortly after the suburb itself was created by Alfred Padley and the Cosmopolitan Land & Banking Co. around the railway line. Local families needed a permanent school to replace informal or church-based teaching arrangements and this school was built. St. Albans grew dramatically after WWII due to migrant settlement and with industrial expansion in Sunshine, Tottenham, and Braybrook. The school was expanded with additional classrooms, specialist rooms (art, library, music) and larger playgrounds and assembly areas. By the 1960s–70s, the state School was a major multicultural school serving a rapidly growing suburb. For more than a century, the school has been central to migrant education, local civic life, community events and fetes The school has tight partnerships with the St. Albans High School and other local institutions. The school remains one of the longest running institutions in the district. St. Albans Primary School received its current name in 1970, when the Victorian Education Department changed all “State School” names to “Primary School.” St. Albans Primary School continues to operate on its original site and remains a key part of the educational landscape of Melbourne’s western suburbs.st. albans primary school, west esplanade, st. albans, st. albans state school

The St. Albans State School, now the St. Albans Primary School opened in 1889 and is one of the oldest continuously operating schools in Melbourne’s western suburbs. The school was founded by early farming families shortly after the suburb itself was created by Alfred Padley and the Cosmopolitan Land & Banking Co. around the railway line. Local families needed a permanent school to replace informal or church-based teaching arrangements and this school was built. St. Albans grew dramatically after WWII due to migrant settlement and with industrial expansion in Sunshine, Tottenham, and Braybrook. The school was expanded with additional classrooms, specialist rooms (art, library, music) and larger playgrounds and assembly areas. By the 1960s–70s, the state School was a major multicultural school serving a rapidly growing suburb. For more than a century, the school has been central to migrant education, local civic life, community events and fetes The school has tight partnerships with the St. Albans High School and other local institutions. The school remains one of the longest running institutions in the district. St. Albans Primary School received its current name in 1970, when the Victorian Education Department changed all “State School” names to “Primary School.” St. Albans Primary School continues to operate on its original site and remains a key part of the educational landscape of Melbourne’s western suburbs.These photographs show how multicultural the school had become after the post WW2 migrant boom.st. albans primary school, west esplanade, st. albans, st. albans state school

Falls of Halladale wrecked to the West of Peterborough and the rocky point of land is now named Halladale Point. the book includes information about the history of the ship and photos of her in action, as well as information and photos of the wreck.Jack Loney researched and wrote a number of books about many shipwrecks along the Victorian coast. This limited edition book summarises the history of the barque Falls of Halladale, which wrecked just to the west of Peterborough and includes interesting photos of the ship at sail and as a wreck on the reef.A3 landscape style spiral bound book with stiff, cardboard pages. Limited editionInside it is noted that this is copy number 452 of 1000 copies, and is signed by the author. Also inscribed in pencil is " Donated by Barry Jenkins"shipwrecks, peterborough, falls of halladale, jack loney

By 1992, Sizzler had 74 restaurants across Australia, including multiple Victorian suburban sites but by 2017, only 17 Sizzlers remained nationwide, none in Victoria. The Sunshine restaurant only had a relative short operating period before it closed down. In 2026, the store was operating as the Gold Leaf Chinese Restaurant.These photographs were taken during the landscaping phase of the construction process, just prior to the store opening.Sunshine Sizzlers Sunshine 470.3ballarat road, sunshine, sizzlers