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Federation University Art Collection
Artwork, 'Cassandra After the Fact' by Andrew Potter, 2009
This work pays homage to Solomon J. Solomon’s Ajax and Cassandra. Andrew Potter’s painting tells of the subsequent event. Cassandra is undoubtedly a Trojan War casualty, symbolizing the personal pain of widows and rape victims. The flow of the fabric is the allegory of bloodshed, while the empty jar suggests displacement of refugees. Cassandra’s body, as mother earth, is a metaphor for the peaceful landscape that is desecrated by acts of war. The artist uses these iconic figures to exemplify and demonstrate why peace is always better than war. This work was awarded second prize in the 2009 Lucato Peace Prize. During that year Andrew Potter was undertaking the first year of a Bachelor of Visual Arts (Fine Arts) at the University of Ballarat’s Arts Academy. This item was runner up in the Lucato Peace Prize, and is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Painted canvas depicting a naked woman lying on the round beside a glass jar.art, artwork, andrew potter, potter, lucato peace prize, mythology, available -
Eltham District Historical Society Inc
Photograph, Getting ready for the parade, Diamond Street, Eltham Festival, 10 November 1990, 10/11/1990
[from a contemporary report:] The festival parade was held at 11.00 am on Saturday, 10 November 1990, commencing in Youth Road (behind Eltham Railway Station) and Diamond Street. As per tradition, the Shire of Eltham Historical Society entered a float in the parade but for the first time combined with the Diamond Valley Arts Society to produce the float. The theme of the parade was ''Spring into Summer". In accordance with this theme the Society's float depicted artists on a spring painting excursion. Part of the group was "Walter Withers" painting a landscape. There was also another artist painting a portrait of a girl in a spring costume. Joh Ebeli was responsible for preparation of the float. The float won the prize for the best display. Originally contained in a 'magnetic' photo album believed to have been donated by Mr Eric Stephenson, Jingalong, 110 Ryans Road, Eltham, Vic. 3095; relocated to archival safe storage.Colour photograph1990, eltham festival, diamond street, diamond valley arts society, joh ebeli, parade, parade floats, walter withers, youth road -
Victorian Interpretive Projects Inc.
Advertisement, Kinnear's Rope, 1934
Kinnear's factory in Footscray, Melbourne is a large industrial site which is no longer used for rope making. Until its closure Kinnear's Rope : - *was an important example of a rope making factory. *was the largest and longest continually operating producer of rope products in Victoria. * contributed to the industrial landscape of Melbourne, in particular the western suburb of Footscray as a major industrial centre. *played a role in the history of post war migration to Victoria. *had an mportant and successful role in rope and textile manufacturing in Victoria during the twentieth century. * site includes the remnant rope walk which is demonstrative of a traditional rope laying process no longer practiced and one of only two surviving such structures in Victoria. *remnant rope-making machinery is of technological significance as rare surviving examples of such equipment dating from the early twentieth century. (http://www.maribyrnong.vic.gov.au/Files/C93_kinnears_amendment_request_sm.pdf)An advertisement for Kinnear's Emu Brand rope and twine. It features a close up photograph of a man sewing a hessian bag closed, and Kinnear House in King Street, Melbourne.kinnear, rope, footscray, kinnear house, industry -
Eltham District Historical Society Inc
Photograph, Communal gravesite for stillborn babies or those who died soon after birth, Eltham cemetery, August 2007
A memorial to still born babies at Eltham cemetery lies under the trees on the west side. A plaque within a garden bed states: “Cherished, but not cradled. This small garden is adjacent to a communal gravesite for stillborn babies, or those who died soon after birth. They were all born and /or died at Queen Victoria Medical Centre and buried between March 1979 and April 1986.” The landscaping was funded by Stillborn and Neonatal death Support (SANDS) Vic. Members. It also initially had a low wooden seat in place. (No longer in place as of April 2022) The Queen Victoria Medical Centre itself was founded in 1896 and at the time was one of only three hospitals worldwide founded, managed and staffed by women. The Centre has since merged and amalgamated with the Monash Medical Centre. EDHS records indicate that the communal burial site was also fo bodies that were donated to science. Roll of 35mm colour negative film, 6 stripsKodak GC 400-9eltham cemetery, communal grave, stillborn, plaque, memorial plaque, memorial to still born babies, women in eltham cemetery tour -
Eltham District Historical Society Inc
Photograph, Peter Pidgeon, Landscape with sheep by Walter Withers part of the Heidelberg Artist Trail, 2 Sep 2017
The Heidelberg School Artists Trail was established in about 1999 with about 52 signs across four local governemnt areas including Nillumbik and Banyule. This one acknowledges "Landscape with Sheep" by Walter Withers. The text on the board states: Walter Withers depicts in this work a number of sheep on Mr. Tom Orr’s property. Our view is from the rise above this park, from the Lower Plenty side of the nearby Diamond Creek, looking northwards towards the main Eltham township. The area that is now Wingrove Park, would have been to the right, in the valley below the sheep. The mood of this work is warm and vibrant, with the use of strong blues and pinks, and this stands in marked contrast to the softer, cooler greens used by Walter Withers in his work ‘The Silent Gums’. Heritage Excursion by EDHS members - An Eltham South Ramble, 2 Sep 2017Born Digitalactivities, eltham district historical society, eltham south, heritage excursion, local history centre, eltham, heidelberg artists' trail, walter withers, landscape with sheep, wingrove park trail -
Eltham District Historical Society Inc
Photograph, Peter Pidgeon, Heidelberg Artists Trail signs are through this area including local artist Walter Withers, 2 Sep 2017
The Heidelberg School Artists Trail was established in about 1999 with about 52 signs across four local governemnt areas including Nillumbik and Banyule. This one located in Wingrove Park Eltham pays tribute to Walter Withers and his painting "The Silent Guns" Transcription of sign: Walter Withers – The Silent Gums, 1909 Walter Withers painted this tranquil pastoral scene in the vicinity this park. Here he has captured the dairy cattle belonging to local Eltham farmer, Mr. Tom Orr, feeding and resting in the shade of the tall Manna gums. Wither’s daughter, Nan recalled how her father, for inspiration, often visited the property of their neighbour, Mr. Tom Orr, and in his later years, Withers painted many landscapes depicting Mr Orr’s sheep and dairy cattle. Heritage Excursion by EDHS Members - An Eltham South Ramble, 2 Sep 2017Born Digitalactivities, eltham district historical society, eltham south, heritage excursion, local history centre, walter withers, heidelberg artists' trail, wingrove park trail, the silent gums -
Nillumbik Shire Council
Painting: David ARMFIELD (b.1923 Melb AUS - d. 2010 Melb AUS), David Armfield, Panton Hill, c.1980
David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.Oil on canvas painting depicting a Panton Hill bush scape.Signed: D. Armfield in lower right hand corner. Not dated.david armfield, eltham art prize, panton hill -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Marguerite Marshall, Eltham Community and Reception Centre, 2 October 2006
The Eltham Community and Reception Centre was Australia's first public mud-brick building. Commissioned in 1977 by Eltham Shire Council, led by Shire president (and architect) Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. The official opening was performed by the Hon. R.J. Hamer; E.D., M.P., Premier of Victorai on Saturday, April 22, 1978. Architects: Whitford & Peck Pty Ltd Quantity Surveyor: D.J. Cant & Associates Structural Civil Engineers: Charlett & Moore Pty Ltd Landscape: Peter Glass, Dennis Edwards Mech Elec: Lobley Treidel & Partners Pty Ltd Acoustics: Riley Barden & Kirkhope Builder: L.U. Simon Pty Ltd Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then / Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p177This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham community and reception centre, mudbrick construction -
Ballarat Tramway Museum
Book, The Critic and Adelaide, "The Tramways of Adelaide", c1989
Fifty four page book, A4 landscape format, with brown stipple card covers saddle stapled, printed on gloss paper, titled "The Tramways of Adelaide". Originally published by The Critic Adelaide in 1909, with facsimile production by the Australia Electric Transport Museum c1989. Features photographs of construction of the electric tram system in Adelaide, Members and Officers of the Tramway Trust, construction details, electrical equipment details and depots. Has advertisements for local suppliers including Messrs Forward, Down & Co. (Steel fabricators), Duncan and Fraser (tram builders), Newton McLaren Ltd (electrical equipment), James Martin & Co. (locomotive and equipment) and Millars' Karri and Jarrah Co.trams, tramways, adelaide, mtt, tramway construction, electrical systems -
Ballarat Tramway Museum
Ephemera - Ticket/s, Victorian Railways, ARHS / TMSV joint tour to Farewell Ballarat Trams, 1971
Has a strong association with the tours to mark the closure of the Ballarat Tramway system and Graeme Breydon.Edmondson pasteboard railway ticket, No. 741, dated 21 august 1971, for use on an ARHS / TMSV joint tour to Farewell Ballarat Trams - the first day of the closure of the system. Ticket base is white with three vertical green stripes, which is printed in landscape format. Has been over stamped "Farewell Ballarat Trams" and "Tramway Museum Society of Victoria". From memory, these tickets were bulk printed by the Victorian Railways for the ARHS and the over stamped for use on particular days/events, meals etc. Would have been used as the tram ticket on the day. Ticket used by Graeme Breydon on the day of the tour. See History of the Object for further details.trams, tramways, arhs, tmsv, tickets, closure -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, Barry Sutton, 13 07 1971
The photograph was taken in the Board Room of Royal District Nursing Service (RDNS) 452 St. Kilda Road, Melbourne. It was taken after Sister Pat (Paddy) Rowley received her Fellowship of the Australian College of Nursing. The Australian College of Nursing describes the Fellowship as follows: "Fellowship of the Australian College of Nursing (ACN), is a prestigious member status awarded to nurses in recognition of significant professional achievement. Fellowship recognizes the experience and contribution of nurse leaders to ACN and the profession".The regalia worn by Sr. Rowley as a Fellow, is a black gown with the wide trim to the front edges of scarlet satin and the regalia hood of inner white and outer scarlet satin. Sr. Rowley is the Principal Nurse Educator at RDNS.Sister Rowley commenced at Melbourne District Nursing Society (MDNS) in 1956 working as a District Nurse in a large district covering South Melbourne, Albert Park, Middle Park, and suburbs bordering from St. Kilda to Port Melbourne. In 1961 she was asked to be a Control Sister answering the telephones in Headquarters. She left MDNS for a short period, and after being asked to return was accepted, in August 1962 to take the MDNS 2nd Post Basic Course written by Miss Mary Evans; during this time Sr. Rowley wrote a paper on Liaison which led to continuity of care of patients between hospitals and RDNS. Following the course she commenced in Education and rewrote the Post Basic Course. In 1964 Sr. Rowley commenced, on a part time basis, working as a Liaison Officer at the Alfred Hospital. She attended the Teachers College, doing the 12 month course in 6 months, but this course did not have a health component, so she applied, and received, a Florence Nightingale Scholarship to the College of Nursing, gaining her Diploma of Nursing Education in 1968. Following this she became the, now named, Royal District Nursing Service (RDNS), Education Officer. In 1969 Sr. Rowley, with Miss Mary Evans, DON, attended the quadrennial Congress of the International Council of Nurses in Montreal, Canada and then Sr. Rowley visited USA looking at Public Health Nursing Education programs. As well as her RDNS work, Sr. Rowley became Nursing Consultant to the St. John's Ambulance Association in 1970, assisting in planning their Home Nursing Course book. In July 1971 Sister Pat (Paddy) Rowley, was awarded Fellowship of the Australian College of Nursing (ACN). The Australian College of Nursing describes the Fellowship as follows: "Fellowship of the Australian College of Nursing (ACN), is a prestigious member status awarded to nurses in recognition of significant professional achievement. Fellowship recognizes the experience and contribution of nurse leaders to ACN and the profession”. Sr. Rowley was then appointed as Principal Nurse Educator and wrote many of the programs for the Education department. Working as an Educator she travelled to regional hospitals, e.g. in Geelong and Ballarat to give lectures on District Nursing. When the Education Department relocated to 488 St. Kilda Road, she arranged the floor plan of the rooms. Sister Rowley retired from RDNS in 1988 having worked for 26 years in Education and a total of 32 years with the Melbourne, later named Royal, District Nursing Service. . Black and white photograph of a three quarter length view of Royal District Nursing Service (RDNS), Sister Pat (Paddy) Rowley. Sister Rowley, who has her head turned slightly toward the left of the photograph, is wearing dark rimmed glasses and has short dark straight hair. Over her light coloured top, she is wearing a black long open gown with wide trim, and regalia hood of white inner and dark outer satin. Her hands are clasped to the front holding a rolled white certificate held closed with a ribbon and bow. In the background the left edge of a framed landscape painting is seen on the wall. Part of Photographer stamp. Quote No. KJ 57royal district nursing service, rdns, fellowship of the acn, melbourne district nursing service, sister pat (paddy) rowley -
Glenelg Shire Council Cultural Collection
Print, Alcoa - Heathland, 1983-1984
CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency 1983 and 1984.Laminated screenprint of a landscape with several social comments. The top of the work features a Micky Mouse symbol with dollar signs in his eyes and a speech bubble which says "We'll move the Heathland". To the left is text stating "ALCOA AIMS TO MOVE THE HEATHLAND. "AGE" 5-9-80". In the centre of the work vegetation burns, aboriginal people wave and a tractor drives below the text "THEY BURNT THE HEATHLAND 4-12-80". The lower section of the work shows two men with a red megaphone. A speech bubble comes from the megaphone which states, "I UNDERSTAND YOUR ANGUISH!" To the right of the men is a wreath of native plants with two animals (native mice?).Front: 26 B. Sharrock (lower right, image) (pencil) Back: 36 -
Melbourne Tram Museum
Ephemera - Ticket, Melbourne & Metropolitan Tramways Board (MMTB), Ticket - 2d, c1928?
Ticket - 2d black printing on off white paper, over printed in red for "City Section". Ticket No. M472012. Has a Fishers Ink advert on rear. See htd3959doc.pdf for a detailed investigation of the ticket, where it was found and discussions with the donor. Summary - found in an archaeological dig for 74 Collins St - see htd3959doc1.pdf - which gives the background to the history of the site. Ticket found nearby a 1928 paper. Gary Davey, see htd3959doc for background could not date the ticket, though is landscape format and single row of punch marks are of note. Most likely c1928. Images i3 and i4 are of the docket that was received with the ticket from the dig and the donors name.trams, tramways, tickets, city section, advertisements -
Surrey Hills Historical Society Collection
Photograph, Bonfire, Beckett Park, Balwyn (Surrey Hills), c1937/8, 1937
"The bonfire at Beckett Park was the culmination of the EMPIRE DAY/CELEBRATIONS in Surrey Hills in 1935 and 1936. In 1937 vandals lit the fire prematurely but residents hastily rebuilt it - about / 100 tons including old tyres. A volunteer fire-watcher had his caravan close by until lights-up time on Saturday night. / Courtesy Ian Barkla. / see 180 (handwritten on backing board)." / "BONFIRE BUILDING at BECKETT PARK/EMPIRE DAY CELEBRATIONS IN 1930s/ The celebrations were centred on the/ shopping centres in Surrey Hills and/Mont Albert to boost local business (and/ the spirits of residents) after the Depression./ - from a glass negative - Mr Ian Barkla."Image depicting the building of a large bonfire made primarily from rubber tyres, supported by a wooden frame c1937/8. There is a significant crowd of people watching the erection of the pyre from ground level. Several members of the crowd are seated or holding bicycles. There are multiple persons situated on the pyre or on a ladder propped up against the mound of tyres. The area containing the pyre has been fenced off with rope (?). A white coloured caravan in situated to the right (facing) of the bonfire in close proximity to a dark coloured car. Two stone towers and a park bench are also visible in the image.Black and white, W 25.3 cm x H 20.3 cm, landscapeparks and reserves, beckett park, balwyn, bicycles, crowds, empire day, depression 1929-1939, economic depression, frank leslie barkla, bonfires -
Bendigo Military Museum
Photograph - PHOTOGRAPHS BCOF
Various photos taken by Richard McGilvery of the transfer to Japan of the while part of BCOF. Item in the collection of RICHARD WILLIAM McGILVERY, RAAF. Refer Cat No. 7287P for his service. Details photos and awards.Black and white photos of various sizes. 1. Photo of various service personnel at a lookout point. Looking over a landscape. 2. Image of a man in civilian clothes standing in front of a tree. 3. Image of man standing in front of a kitchen, possible R. McGilvery in civilian clothes. 4. Picture of service men and women on board HMAS Kanimbla off Samarai on 24/4/47 at sea. 5. Picture of various men, two in uniform, rest in civvies sitting in or leaning against a vehicle. 6. Various service personnel sitting around tables in a mess. 7. Group of large No. of Service men and women posted in front of a giant statue of Buddha.2. No. “939” written on the back. 4. On back is written "HMAS KANIMBLA off Samarai 24/4/47". 5. No. “256” Stamped on back. bcof, japanese occupations -
Bendigo Historical Society Inc.
Photograph - PETHARD COLLECTION: PHOTOGRAPH RESO TOUR
George Pethard Collection including references to Taraxale Brewing Company Pty brown covered 29x19mm photographic album bound with gold string / 52 black and white Photographs of Reso tour to central Australia and Northern Territory / includes Aboriginal camps , camel trains / landscapes , war cemetery at Adelaide River / May 13- June 13 1947 / the 40 members of the party are also named includes: George Pethard / Aboriginal camp , Jay Creek consisting of makeshift tents / crowd playing 'Two Up ' Photo of the ship 'Meggs' at Darwin / Manton Dam - Darwin's water supply photo. Reso Tour to Central Australia and Northern Territory.Roy Dunstan Publicity and Tourist services Victoria Railwaysphotograph, person, male, george pethard / taraxale brewing company pty ltd / aboriginal camps / camel trains / war cemetary at adelaide river photo of the ship 'meggs' at darwin / manton dam - darwin's water supply photo -
Bendigo Historical Society Inc.
Painting - OIL PAINTING BY HARRY CLARKE
Original oil painting, by Harry Clarke of mud brick house & outbuildings near Eaglehawk Golf Course, in a timber frame, signature bottom right corner, with note stuck on rear. Harry Clark lived in Lobb St North Bendigo with his wife and son Max in 1940s. He moved around working for thre mines including Central Deborah (managing or as an inspector). he lived in Alice Springs for a while. He shifted to Wangaratta where he died aged in his 80s. H eloved painting buildings and old houses and landscapes in Central and Goldmines Districts. Information from note attached to painting. Note not signed.Harry Clarkeartwork, oil painting, landscape, victoria-history-eaglehawk -
Bendigo Historical Society Inc.
Photograph - FORTUNA COLLECTION: FORTUNA, c1920s
Black and white photo. The hall at Fortuna Villa. Bottom left of a fire place with plants and deer sitting in it, on either end of the mantle are statues of ladies sitting reading, in the centre is a man holding up a disc shaped object. Along the wall there are a number of paintings one is of Sir George Lansell, others are landscapes. Also along the wall standing on the floor is a collectors cabinet on beautifully carved legs. A lady crouched down with an elbow on her knee, she is sitting on a pedestal. On the right of that is a cabinet is what appears to be a kerosene lantern then a Fire place screen. Markings/Inscriptions: Bartlett Bros. Bendigo. Sticky label on front centre bottom; 338 ST 83buildings, residential, fortuna villa, bartlett bros. bendigo -
Melton City Libraries
Newspaper, Stone Walls protected, 2015
Dry stone construction as a technique is used for much more than paddock walls. Across the volcanic plains of western Victoriaare marvelous sheep dips, stock loading ramps, huts, dams, retaining walls, and the rich and largely undiscovered heritage of indigenous dry stone structures. Dry stone walls indicate many aspects of our rural environment; the geological beginnings of the way the landscape was created, the patterns of early settlement by pastoralists and squatters, the types of stock that grazed the land and the methods of cattle and sheep management, of the efforts to thwart the spread of rabbits .... "For the casual but interested observer dry stone walls are good to look at, to photograph, to get up alongside and see the way they are constructed, to appreciate the varying shapes and sizes of stones and learn of the techniques of keeping often quite rounded stones in place. Apart from walls and other dry stone structures on grazing land we can also see dry stone techniques used in other places and in other phases of our history. Indigenous Australians have built, and continue to build, structures for shelter or hunting or trapping eels and fish in rivers and estuaries around the country. At spots around our coast line there is evidence of simple stone structures built by early maritime explorers. Prospectors in early mining encampments used dry stone construction to build retaining walls or the low walls of rudimentary shelters. If the future of dry stone walls in the Australian landscape is to be assured. wall owners and local governments have to accept and embrace their custodial role in assuring the preservation and celebration of walls. This is not an easy task, but, along with putting the necessary statutory mechanisms to ensure their retention, it is a task that must be pursued. The Dry Stone Walls Association of Australia has as its primary goal the increase in awareness of wall owners and local governments of the importance of dry stone walls. It also seeks to increase the level of training of skilled and semi skilled wallers, and the gaining of rudimentary skills by farmers so that they can maintain their own walls". Melton Star Weekly article about the Stone Wallslandscapes of significance -
Kiewa Valley Historical Society
Postcard Circa 1950, Men's Mess No.4 Power Station, Kiewa Hydro-Electric Project
This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment.Although this photo details the eating facilities of the construction workers at the power station it was not only a postcard for the people employed in the Hydro Scheme is was also provided to tourists visiting the area and thus used for promotional purposes.This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap. The men shown in this photograph would have been employed by the S.E.C. under the Kiewa Hydro-Electricity Scheme.This item is a scanned black and white photograph of a construction worker walking from stairs leading down from the men's mess building, in 1950. See 0480 (A) -(C), (E) - (F) for other photos of similar postcards"MEN'S MESS No.4 POWER STATION AREA, KIEWA HYDRO-ELECTRIC PROJECT" "ARGUS PHOTO V.IIkiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth, secv -
The Beechworth Burke Museum
Photograph
This photograph depicts a man in dark clothing, standing in front of a cut away section of earth. He is undertaking hydraulic sluicing, which involves the use of high powered hoses, in order to cut away the earth which can then be sifted for gold. There is a single tree in the background and the earth contains numerous signs of damage because of the mining. Beechworth become a mining settlement after the discovery of gold in 1852. Gold fever had already spread across Australia's colonies and the American states. Sluicing the landscape for gold, as shown in this photograph, was done by diverting water and washing away the lighter dirt, allowing the gold particles to sift down in to catchments for collection. In Beechworth, there was considerable discontent caused by attempts to restrict water use for sluicing to those with certain 'water rights'. The extensive use of hydraulic sluicing, and the washing away of top soils has continued to impact the surrounds of Beechworth in to the present day. Sluicing as a method for gold mining which was widespread across Victoria during the 1870s. The erosion of the top soil in search of gold has a continuing environmental impact on the landscape and this photograph depicts but one example of this occurring and can provide much information to a researcher interested in understanding the history of gold mining in Victoria. This image of the miner and hose is historically important because it demonstrates the methods of goldmining employed in the later years of the goldrush at Beechworth. It shows how much land is washed away by the use of this technology. The image has good interpretive capacity because it allows researchers to see a different mining technique to what is usually presented. Black and white square photograph on card.reverse: 84-50-3 / 1997 3141 / smdsluicing, goldmining, beechworth, burke museum, miners, gold miners, gold sluicing, environmental impact -
Bayside Gallery - Bayside City Council Art & Heritage Collection
Painting - oil on canvas, Charles E. Gordon Frazer, Sir Thomas Bent, 1892
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 -
Kew Historical Society Inc
Photograph, Anglo-Australasian Photographic Company, View of portion of the City of Sandhurst, as seen from the hill, Camp Reserve, c. 1876
Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/caire-nicholas-john-3139/text3683, published first in hardcopy 1969, accessed online 1 July 2016.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen Silver Photograph, mounted on Board.printed in ink on support l.c.: VIEW OF PORTION OF THE CITY OF SANDHURST, AS SEEN FROM THE HILL, CAMP RESERVE / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 4. / VIEW OF PORTION OF THE CITY OF SANDHURST AS SEEN FROM THE HILL, CAMP RESERVE. / The Camp Reserve is the principal public promenade in this City. The Rotunda in the foreground, formerly used / by the local bands on festive occasions, is now regarded as a relic of the past. To the right of the picture is shown the / City of Sandhurst claim, supposed to be on the Hustler's line of reef. St. Paul's Church tower may be seen in the / distance. To the left of the picture Williamstown-street branches out from Pall Mall. On one side of the street is the / far-famed Shamrock Hotel; on the other stands the Bank of Australasia, with St. James's Hall immediately behind it. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography -
Eltham District Historical Society Inc
Audio Recording, Audio Recording; 2016-04-14 Jane Woollard and Laughing Waters Road, 14 Apr 2016
April Meeting (Newsletter No. 227, Apr. 2016) At this meeting we are pleased to have as our guest speaker Jane Woollard, who has just published a book titled ‘Laughing Waters Road: Art, Landscape and Memory in Eltham.’ Jane was the local history officer at the Shire of Nillumbik so has a detailed knowledge of the history of our area. She has an extensive background as a writer, theatre director and teacher. As well as directing over 50 productions Jane has been a tutor and guest director at the Victorian College of the Arts and La Trobe University and was Artistic Director of the Union House Theatre at the University of Melbourne. Since 2001 more than eighty artists have been in residence at Laughing Waters in Birrarung House and Riverbend. In her book Jane has woven together their experiences and art making, together with Wurundjeri, European and family histories to create an evocative account of a very special place in Eltham.0:47:13 duration Digital MP3 File 66 MB audio recording, birrarung house, eltham district historical society, jane woollard, laughing waters, riverbend, shire of nillumbik, society meeting, wurundjeri -
Eltham District Historical Society Inc
Journal, Peter Doughtery, ArtStreams: News in arts and cultural heritage; Vol. 3, No. 1, Feb-Mar 1998, 1998
Vol. 3, No. 1, Feb-Mar 1998 CONTENTS MUSICAL MURAL Billie Holliday, Louis Armstrong and Jelly Roll Morton appearing in Eltham 2 OBITUARY Pioneer painter and landscape gardener Peter Glass 5 SHORT STORY A place for heroes by David Gothard 7 MONTH OF FESTIVALS Souvenir guide to festivals of Banyule, Templestowe Village, Pettys Orchard Antique Apple and Warrandyte 9-24 A SENSE OF PLACE Exhibition of banners depicting a lifestyle 23 CLEM CHRISTESEN, WRITER & EDITOR Publication of poetry covering 30 years of life and work 25 THEATRE IN 198 Playbills for Eltham Little Theatre, Heidelberg Theatre Company and Sherbrooke Theatre Company 26 CERAMICS How ceramicists mix business and art 27 ART AWARD FORUM Do art awards meet current needs? 28 IN THE HEAT OF SUMMER Busy month of theatre in Melbourne 29 BOOK REVIEWS 30, 31 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/06) art streams, volumes, jazz mural, vladimir bykovec, peter glass, john street, david gothard, banyule festival, arts on burgundy, ward sagar, montsalvat, were street cafe, rosanna fire station community house, bibby's bahnhof cafe, templestowe village festival, pool & spa care centre, la piazza restaurant bar & cafe, recherche bespoke framers, warrandyte festival, margaret roadknight, mezze restaurant warrandyte, food for all seasons, rivergum gallery warrandyre, potters cottage, pettys orchard antique apple festival, fleur de feliss, allwood neighbourhood house, llobex image wizards, victorian artists supplies, ray liversidge, dynamic vegies, jackie wilson, boroondara litfest, mia mia gallery, eltham banners, geoff mosley, clem christesen, nina christesen, julie reiter, nillumbik art award, carolynn pickett, bulleen art & garden centre, hugh tolhurst, andrew sant, lucinda mcknight, drusilla modjeska, amanda lohrey, robert dessaix, michele lonsdale, volumes, eltham little theatre, heidelberg theatre company, doncaster theatre company -
Eltham District Historical Society Inc
Photograph, Daniel Rutter Long, Bridge over the Diamond near Eltham, Daniel Rutter Long, 1855
Daniel Rutter Long was born in England, after training as a pharmacist he, his wife and family emigrated to Port Phillip, Victoria in 1840. By 1843 he had his own chemist shop in Bourke Street, later erecting a well known pharmacy on the corner of Bourke and Exhibition streets. During the gold rush of the 1850s he purchased gold at the shop for shipment to a Quaker syndicate in London. Retiring from the business in 1857 Long took up painting, sometimes returning to his original profession. He painted hundreds of landscapes in other colonies as well as in Victoria. Long participated in local affairs and was one of the earliest members of the municipal council. Later he was elected mayor and instrumental in the in the erection of Prahran Town Hall. He was also a member of the Police Court Bench for many years. Daniel Long died at the age of eighty-three in 1886. (State Library of Victoria)This 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 35mm B&W negativeshire of eltham pioneers photograph collection, bridge, daniel rutter long, diamond creek (creek), eltham, sepp -
Eltham District Historical Society Inc
Photograph, The Rose Stereograph Company, "Heidelberg House" Hospital, c.1938
View looking across a treed landscape lawn towards the new 'Heidelberg House' at the Austin Hospital, which was opened in 1939. This glass plate negative was used to manufacture postcards (1:1 printing) for commercial sale by the Rose Sterograph Company and its subsidiaries. George Rose founded the Rose Stereograph Company in 1880 and was joined by Herbert (Bert) Cutts in the early 20th Century. The pair formed a lifetime working partnership and strong personal friendship. Assisted by George’s two sons, Herbert George and Walter, and later by Neil Cutts, the Rose Stereograph Company continued its operations for more than 140 years. The company was initially built on stereographs, but as cinema took over and stereographs fell out of fashion, the Rose Stereograph Company developed Australia’s first commercially viable photographic postcard business. Specialising in postcards of iconic historical moments and significant landmarks, The Rose Stereograph Company became a staple of the Australian travel industry.This remarkable collection of glass plate negatives, transparencies, and postcards – arguably Australia’s most significant photography collection outside of public hands – has been passed down through the generations, surviving war, relocation, and the harsh Victorian climate. The historic Rose Stereograph collection is the culmination of George Rose’s dream of capturing and preserving precious moments in time and remains the legacy of the Rose and Cutts families. It is with great sadness that the Cutts family says goodbye to a collection that spans five generations and 140 years. The Cutts family understands that for these historically important pieces to rest with one family is to deny others the pleasure of their custodianship.Glass Plate Negative Size: 9 x 14 cm"Heidelberg House" Hospital, Velentine Series No. 1117, Copyrightpostcard, travel, rose stereograph company, glass plate negative, ray trinham, austin hospital, heidelberg house, valentine series postcard, heidelberg, peter and elizabeth pidgeon collection -
Eltham District Historical Society Inc
Photograph, Memorial to still born babies, Eltham cemetery, August 2007
A memorial to still born babies lies under the trees on the west side of Eltham cemetery, Mt Pleasant Road, Eltham. A plaque within a garden bed states: “Cherished, but not cradled. This small garden is adjacent to a communal gravesite for stillborn babies, or those who died soon after birth. They were all born and /or died at Queen Victoria Medical Centre and buried between March 1979 and April 1986.” The landscaping was funded by Stillborn and Neonatal death Support (SANDS) Vic. Members. It also initially had a low wooden seat in place. (No longer in place April 2022) The Queen Victoria Medical Centre itself was founded in 1896 and at the time was one of only three hospitals worldwide founded, managed and staffed by women. The Centre has since merged and amalgamated with the Monash Medical Centre. EDHS records also indicate that it was also a communal gravesite for bodies that were donated to science. Roll of 35mm colour negative film, 6 stripsKodak GC 400-9eltham cemetery, communal grave, stillborn, memorial to still born babies, women in eltham cemetery tour, memorial, garden, sands, stillborn and neonatal death support -
Australian Nursing & Midwifery Federation
Royal Australian Nursing Federation campaign badge, [1986?]
Distributed to nurses during campaigning for improved wages and working conditions in the 1980s, possibly during the historic 1986 Victorian 50-day nurses strike. In October 1986, Victorian nurses began their longest strike after the failure of repeated talks with the health minister David White who was committed to reducing the classification and pay of almost half of Victoria’s nurses. Skeleton staff were left in the wards while picket lines, tents and caravans were set up outside hospitals in both metropolitan and regional Victoria. After 50 days of industrial action, Victorian nurses voted to return to work on 20 December 1986. The Royal Australian Nursing Federation (RANF) became the Australian Nursing Federation in 1989, suggesting that this button is from the late 1980s. Similar to the badges worn in this photo [https://stories.anmfvic.asn.au/86strike/media/2560-1440-landscape-sec2-contentb-hr_logwf7a.jpg] from 1986 (see individual on the far right).This badge is of historic significance as it represents nurses' struggle for industrial and professional status. This struggle was made particularly visible through the 1986 Victorian nurses' strike, which had great impact on the way Australian society viewed nurses and working women (Bessant, 1992).Circular white and red plastic badge. Silver metal, plastic-coated, with safety pin fastener adhered to back. Badge printed with 'Nurses DO dare to Struggle' and 'R.A.N.F. [Royal Australian Nursing Federation] Vic. [Victorian] Branch'.nursing, nurses, industrial action, strike action, unionism, trade unions, badges, buttons, pins, campaigning, 1986 victorian nurses strike, labour history, royal australian nursing federation, victoria, australia -
Pyrenees Shire Council
photograph, Avoca in 1866 by J.N. Dallimore, 1866
J.N. Dalimore was an amateur photographer and settler who arrived at Port Phillip (Victoria) with his wife in September 1840 on board the Himalaya. Dalimore lived at Woodstock Station, near Avoca, he exhibited view photographs of the district at the 1866 Melbourne Intercolonial Exhibition that were sent on to the 1867 Paris Universal Exhibition. The Avoca Mail of 7 November 1866 reported: Mr Dallimore of Woodstock, determined that the town of Avoca and its environs shall be pictorially represented at the Victorian and Paris Exhibitions, has we learn, forwarded a series of photographs representing the High Street and the Pyrenees [Victoria] from different points of view. All the photographs are well executed and will possess considerable interest for the friends of Avocaites visiting the World’s Fair in 1867. Also included were views of Dallimore’s own station. They won him a medal 'for good Landscape Photography’. His panoramic photograph of Avoca is in the Shire Council significant as a historic photograph of Avoca, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture Black and white photograph of Avoca showing Rutherford Street to the left and the original site of the Avoca Hotel"verso (affixed): AVOCA MAIL, 1st JUNE 1867. ""A remarkably well-executed photograph of the town of Avoca taken in 1866. and forming one of the exhibits at the Melbourne Exhibition, has been presented to the Avoca Shire Councilby F.W. Dalimore formally of Woodstock verso (affixed): No. 875 Intercolonial Exhibition 1866 Exhibitor: Avoca Shire Council Class: Section:"