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Kew Historical Society Inc
Photograph, J F C Farquhar, Studley Park Road, 1891
At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.In this view of Studley Park Road, looking northeast to the Junction, the photographer invites the viewer to participate in a point-of-view that emphasises the elevated, tranquil vantage point of the hill in contrast to the bustling commercial area in the distance. The view emphasises the exclusiveness of Studley Park, with its high fences behind which a number of significant Kew mansions were concealed. Contemporary advertisements for the sale of mansions in Studley Park Road often included fulsome descriptions of their elaborate formal gardens, as well as paddocks for grazing, stabling and dairies. None can be seen here. The use of high, protective wooden pickets to surround the newly planted avenue of elms on the south side of the road appears to be typical of the period. Similar examples can be seen in early photographs of Wellington and Princess Streets.The horse and carriage, selected as a central focus of the view, reinforces the residential, exclusive nature of this part of Kew in the early 1890s. Studley Park Roadkew illustrated, kew where we live, photographic books, henry kellett -
Kew Historical Society Inc
Photograph, J F C Farquhar, A View in Studley Park Road, 1891
At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.This is the earliest known photograph of the exterior of Byram (later Tara Hall). It shows the original red brick fence, its asymmetrical gate and gateposts, with a large terra cotta gargoyle surmounting the higher of the two. The architect, Edward Kilburn designed Byram in the Arts & Crafts style for the industrialist George Ramsden. Construction began in 1888 and was reputed to have lasted three years. The mansion had frontages to Studley Park Road and Stevenson Street, including gardens laid out with great taste, including pleasure grounds, tennis lawn, fruit and flower garden, and paddock. The size of many of the trees in the garden indicate that many survived from the garden of Clifton Villa, the previous single-storeyed house built on the site by the Stevenson brothers. Byram had views to Melbourne and Port Phillip Bay. The house was demolished in 1960, despite opposition from the National Trust (Victoria), and its gardens subdivided into residential allotments.A View in Studley Park Roadkew illustrated, kew where we live, photographic books, henry kellett, byram, tara hall, goathlands -
Kew Historical Society Inc
Photograph, J F C Farquhar, Railway Bridge Over the Yarra, 1891
At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Completed in November 1890, the railway viaduct (now the Chandler Highway Bridge) linked Kew and Fairfield. The viaduct is significant as the most substantial extant engineering remnant of the Outer Circle Railway Line. Opened in March 1891, the viaduct crossed the Yarra River in a single span, atop three supporting brick pillars. Following the closure of the railway line in 1927, and the construction of the Chandler Highway in 1930, the bridge was used for vehicular traffic. In 1891 when this panoramic photograph was taken, the grounds of what was then the Kew Lunatic Asylum extended down to the River and eastward beyond the viaduct. The landscape surrounding the Asylum was planted with traditional exotic trees such as Oaks, Pines and Cedars, and landmark trees from northern Australia such as the Hoop Pine. Remnant indigenous trees such as the River Red Gum, Yellow Box and Lightwood were scattered around the site, including beside the Yarra River.Railway Bridge Over the Yarrakew illustrated, kew where we live, photographic books, henry kellett, railway viaduct - - kew (vic) -
Kew Historical Society Inc
Photograph, J F C Farquhar, Kew Asylum & Grounds, 1891
At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.When the Kew Lunatic Asylum was opened in 1871, its extensive 340 acres of grounds were intended for farming, agriculture and recreation for the inmates. The point-of-view chosen by Farquhar for this panoramic photograph focuses on the ordered open fields, haystacks and remnant trees that extended from the foreground to the rear of the Asylum. The inmates are the absent players in this pastoral idyll. In 1891, The Argus reported on the Annual Asylum Picnic: “Wednesday saw the Kew picnic, the yearly festival of the mad folks and their keepers. Once a year the public subscribes for cakes and ale for all these mad folks, and their keepers, from superintendent to lowest wardsman, turn out, and use their best endeavours to make one day in the year sanely merry.” Regardless of such merriment, the Asylum’s development and ongoing status were frequently a source of disquiet to the residents of Kew, who regularly petitioned the State Government for its removal. Despite these views, the Asylum was to remain a functioning institution from 1871 to 1988. Kew Asylum & Groundskew illustrated, kew where we live, photographic books, henry kellett, kew lunatic asylum -
Kew Historical Society Inc
Photograph, J F C Farquhar, Ratting on the Yarra, 1891
At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.In Farquhar’s close-up portrait of the rat catcher and his dog, the photographer excludes any extraneous data that otherwise might have provided a spatial or motivational context. The contemporary or the present day viewer is required to construct a narrative to explore or understand what is occurring. The title of the picture might incline a viewer to believe that what they see is an exercise in vermin control, and that the rat concerned might be an introduced black or brown rodent. A more likely scenario is that the rat catcher is focussed on catching ‘rakali’, a native water-rat once widely trapped for its fur. The trapping of rakali for use in the manufacture of fashionable clothing accelerated as introduced furs such as musquash became more expensive. It was not until 1938 that rakali were granted protected status.Ratting on the Yarrakew illustrated, kew where we live, photographic books, henry kellett, yarra river -
Kew Historical Society Inc
Photograph, J F C Farquhar, Dight's Falls, 1891
At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Dight’s Falls in Studley Park is an artificial weir built on a natural rock bar across the Yarra. The weir was built in the 1840s to provide water to the ‘Ceres’ flour mill, one of the earliest industrial sites in Melbourne. The falls were later to be named after the owner of this mill. In 1888, William Guilfoyle, Director of the Melbourne Botanical Gardens had called for fresh water to be piped from above the weir to the Botanical Gardens, using a pumping station on the Kew side of the Falls, a holding reservoir in Walmer Street and a series of pipes from there to the Gardens. This system was opened in May 1891. Farquhar’s photograph of the man-made weir obscures the industrial activity on both sides of the Falls and focusses solely on the river and the surrounding natural vegetation. The photograph probably predates the disastrous flooding of the Yarra River in July 1891, the greatest to have occurred in the Colony since the foundation of Melbourne.Dight's Fallskew illustrated, kew where we live, photographic books, henry kellett, yarra river -
Kew Historical Society Inc
Photograph, J F C Farquhar, The Yarra in Hyde Park, 1891
At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Hyde Park is now a small recreation reserve bordered by Willsmere and Kilby Roads and White Avenue. In 1982, Hyde Park was cut off from the Yarra River by the construction of the Eastern Freeway. The building of the latter was to transform the natural landscape, including the Yarra, as well as Hyde Park. The construction of the Freeway makes it difficult to view the scene with the photographer’s eye. Today’s Hyde Park is located on land purchased in 1847 by John Cowell, and in 1851 Catherine Cowell, yet the scene selected by the photographer may well have been located on farmland owned by the Wills family. Farquhar’s point-of-view emphasises both the pastoral and recreational elements of the scene: the grazing cows, three boys, and in the distance two figures, seated on the bank with a parasol. By 1891, an environmental consequence of human activity, including farming, was deforestation, leading to the erosion of the south bank of the Yarra. In contrast, the land on the Alphington side of the river in 1891 included remnant bushland.The Yarra in Hyde Parkkew illustrated, kew where we live, photographic books, henry kellett, yarra river -
Kew Historical Society Inc
Book, Henry de Castres Kellett BT, Kew Where We Live : Kew Illustrated, 1891
At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.A unique Illustrated book, comprising a series of twelve plates of panoramic and landscape photographs of Kew, commissioned from the Melbourne (and Kew) photographer JFC Farquhar, by the Kew stationer Henry Kellett. The book was published in 1891, so it is presumed that the photographs provided by Farquhar were taken in 1891 or in the previous year. Photographs from the cloth bound book were offered by Kellett for sale separately; hence a number are in public collections. The book is in very poor condition, the leaves having separated from the spine. The cover is suffering from red rot while the mounts of each book plate are dirty and frequently suffering from foxing. The actual silver albumen plates variably suffer from foxing and iridescence caused by the deterioration resulting from the photographic process. Each part of the book can be viewed in this record in sequential format.KEW WHERE WE LIVE / KEW ILLUSTRATED / THE ACCOMPANYING ILLUSTRATIONS ARE PHOTOGRAPHIC VIEWS OF KEW AND ITS SURROUNDINGS, EXECUTED BY THE "ARGENTIC BROMIDE PROCESS", WHICH ENSURES ABSOLUTE PERMANENCY OF THE PHOTOGRAPH. IN A FEW YEARS HENCE WHEN MOST OF THE OLD LANDMARKS WILL HAVE DISAPPEARED THESE VIEWS WILL BE A VALUABLE MEMENTO OF KEW AS IT WAS IN 1891. ANY OF THESE ILLUSTRATIONS GAN BE OBTAINED FROM MR. H. KELLETT, HIGH STREET, KEW, IN SINGLE COPIES, IN THE SAME SIZE AS THOSE HEREIN AT 2s PER COPY. THEY MAY ALSO BE OBTAINED IN THE FOLLOWING SIZES FOR FRAMING:- / ACTUAL SIZE OF PHOTOGRAPH 15 INCHES X 12 INCHES @ 8. 6d EACH / 22 INCHES X 16 INCHES @ 15s EACH / PRIVATE RESIDENCES AND ESTATES / SPECIAL ARRANGEMENTS CAN BE MADE FOR TAKING VIEWS OF PRIVATE RESIDENCES - INTERIOR AND EXTERIOR - AND FOR GROUPS, &C., IN ANY SIZE UP TO 40 INCHES BY 30 INCHES BY THE "ARGENTIC BROMIDE" PROCESS UPON APPLICATION TO / MR H. KELLETT / HIGH STREET, KEW.kew illustrated, kew where we live, photographic books, henry kellett, jfc farquhar - photographer -
Kew Historical Society Inc
Photograph - Geraldine Ward, 1960
The East Kew Women’s Club was formed on 20 July 1945 as an experiment amongst local women, who felt that there was a need for some organised group to give full scope to their various interests and hobbies. In the beginning, they met at the house of their founder, Mrs Eric Thake, 48 Harp Road, East Kew, but the growth and interest was so rapid that it was soon necessary to find a larger meeting place, so the group moved to the Harrier’s Pavilion in Victoria Park, Kew. At the fifth meeting of the group, a committee was formed, and a constitution adopted on 4 December 1945.The Club was aimed to be non-political, non-sectarian and open to women from any locality. The Club’s motto was “To Help others, Improve Ourselves, and Foster the Community Spirit”. The first twenty years of the Club was recorded in a small, nine-page publication “East Kew Women’s Club : Twenty Years 20-7-1945 - 30-7-1965”.Portrait photograph of Geraldine Ward, signed, dated and addressed to the Ladies of the East Kew Women's Club.Obverse: [Signed in ink] For the ladies of the East Kew Women's Club with warm wishes, Geraldine Ward 1960." [Reverse annotated] Presented to Society with Minute Books from East Kew Women's Club. / Signed Geraldine Ward across photo / KH-217 / {Stamped] Hand Hasenpflug Illustrative Photography, 62 Swanston Street, Melbourne, Phone CENT 2187.clubs -- kew east (vic.), east kew women's club, glenda ward -
Port Melbourne Historical & Preservation Society
Photograph - Cruikshank Street, Port Melbourne, Jim Peterson, 1930
Original presented to Council in 1980s by the Cricketers ArmsCopy from photo hanging on Town Hall wall of Cruikshank Street 1930 (sepia print): 'Presented to the Cricketers Arms Hotel by Jack Cooper - Cruickshank (sic) Street Port Melbourne - Feb. 1930'hotels, built environment, cricketers arms hotel, jim peterson -
Phillip Island and District Historical Society Inc.
Booklet, Nucolorvue Production Pty Ltd, 1980
The booklet is sponsored by Shire of Phillip Island, Penguin Reserve and Fisheries & Wildlife Department. Photography by: Graham Pizzey, Kevin Lott, Nucolorvue Productions Pty. Ltd. and Bob Porter. Designed and produced by Neil Jones and Kevin Lott for The shire of Phillip Island. Copyright 1980. National Library of Australia.Coloured booklet featuring the Little (Fairy) Penguin. Photographs and the life story of a Little Penguin. penguin parade phillip island, wildlife - penguins, penguins, graeme clauscen -
Federation University Historical Collection
Book, Ballarat School of Mines Calendar, 1902-3, 1901
The Ballarat School of Mines Calendar and Annual Report 1901. Associateship and Final Certificates, Calendar for 1903, Discipline, Discipline Board, Fees, Full Certificates Issued, General Regulations, Honorary Correspondents, Office Bearers, President's Annual Report, Professors and Lecturers, Results of Examinations Conducted by Education Department 1901, Statistics - Students Attending Lectures, Subscriptions and Donations, Subjects Included in Regulations Technical Schools, Subjects of Instruction - Department of Chemistry and Metallurgy, Geological Department, Engineering Department, Electrical Department, Department of Mathematics and Physics, Practical, Plane and Solid Geometry, Photography, Syllabus for Assaying and Metallurgy, Time Table. Includes several photographs.Green soft covered book of 96 pages, it includes the 1901 Annual Report of the Ballarat School of Mines. Images include: Senior Members of Staff and the Linkenbach Tableballarat school of mines, senior members of staff, linkenbach table, linkenbach, mica smith, dawson, hart, usher, annual report, andrew anderson, james m. bickett, r. t. vale, john warrington rogers, james millhinch bickett, james oddie, henry cuthbert, r. g. middleton, charles kent, robert lambert, andrew berry, fred j. martell, thomas s. hart, g. stephen hart, g. j. dawbarn, engineering department, a. e. c. kerr, lewis a. westcott, edgar a. mcconnon, laboratory assistant, john m. sutherland, electrical department, kerr grant, mathematics and physics, henry j. hall, charles e. campbell, photography -
Ballarat Tramway Museum
Photograph - Bromide of a b/w photograph and Black & White Photograph/s, 1890's
Black and White scan or Bromide copy of a photograph of Ballaarat Tramway Company horse tram No. 5 outside the Vine Hotel in Macarthur St, Ballarat on the corner with Creswick Road. Has A. Ronald's Vine Hotel in the background with a Vine Hotel advertisement on the modesty board of the tramcar. Has a number of passengers, including ladies on the top deck and around the tramcar and hotel. Original of photograph from Harris House of Photography. Collected by Alan Bradley from the State Library of South Australia early 1980's. Used in The Golden City and its Tramways - page 29. 3792.1 - black and white photograph print of above - added 29/7/2007, ex Alan Bradley collection of photographs 5/2007.tramways, trams, horse trams, vine hotel, macarthur st, advertisements, tram 5 -
Bendigo Military Museum
Administrative record - Royal Australian Survey Corps - Operation Sandy Bush Phase 3, Operation Instruction 8/75, 22 Sept 1975
Operation Instruction 8/75, Operation Sandy Bush Phase 3 was conducted in the period 1 Oct to 30 Nov 1975 by Det A, 8 Fd Svy Sqn. The Operation was to complete the marking, panelling measurement of already marked control in the Louisiade and D'Entrecasteaux groups and to Recce, Mark, Panel and Measure new survey control in the Trobriand and Woodlark Islands. In addition Photo Identification was to be obtained of all marked survey control. Panelling was the process of accurately laying out large sheets of white plastic to form a cross over the Survey Control Points (Points where the position is accurately known) so that they could then be photographed from the air. The positions of these crosses could then be accurately transferred from this new photography in stereo onto the aerial photography coverage used to produce mapping.Typed Instructions and diagrams without cover, 14 x A4 pages stapled in Top Left Hand Corner.Some annotations in top LH corner8 fd svy sqn, rasvy, royal australian survey corps, fortuna, army survey regiment, army svy regt -
Bendigo Military Museum
Photograph - Air Survey Squadron - Army Survey Regiment, Bendigo, c1988
This is a photograph of Air Survey Squadron, one of the Army Survey Regiment’s four squadrons, taken at Fortuna, Bendigo, c1988. Air Survey Squadron’s main functions were aerotriangulation and digital photogrammetric extraction of 3D topographic features from aerial photography, using Wild B8s coupled to the AUTOMAP 2 computer system.This is a photograph of Air Survey Squadron at the Army Survey Regiment, Fortuna, Bendigo, c1988. The photograph was printed on photographic paper and is part of the Army Survey Regiment’s Collection. The photograph was scanned at 300 dpi. .1) - Photo, black & white, c1988: Back Row L to R: SPR Mark Linwood, SPR Trevor Roddam, SPR Noel Brinsmead, CPL Mark Lander, CPL Frank Downie, SPR Sandy Craig 3th Row L to R: SPR Steve Rundle, unidentified, Darren Wilkinson, CPL Dave Longbottom, SPR Max Watson, unidentified, SGT Paul Hopes, unidentified. 2nd Row L to R: SGT John ‘Shep’ Shepherd, SPR Paul Boulton, SPR Stuart Bowd, SPR Paula (Golding) Brinsmead, SPR Jo Otto, CPL Steve Coulson, SPR Steve Linane, CPL Chris ‘Charlie’ Brown. Front Row L to R: SSGT Bruce ‘Hap’ Hammond, WO2 Barry Lutwyche, LT Struan Robinson, SSM WO1 Alan Hancox, OC MAJ Peter Clark, LT Simon Buckpitt, WO2 Neil ‘Ned’ Kelly, SSGT Noel ‘Macca’ McNamara.No personnel are identifiedroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, air survey -
Melbourne Tram Museum
Photograph - Four color slides - tram W2 412 and tour ticket, 9-8-1970
Set of four colour slides taken during the Monash Railway club tour on 9-8-1970 using W2 412. The route number and destinations are for show only. Photography by Warren Doubleday. Ticket - No. 0004, printed on yellow card detailing the event. Date stamped on the rear using and Edmondson ticket dater.Yields information on Monash Railway club tour, the trams used, the ticket and the locations.Set of four Anscochrome colour slides, of Melbourne tram W2 412 on a Monash Railway Club tour - 9-8-1970 .1 - Shuntiing at Leura Grove Crossover in Burke Road .2 - Shunting at the crossover in Riversdale Road, near Glenferrie Road .3 - at the Burwood terminus .4 - Outside 412 Toorak Road. Since changed to 1412 Toorak Road .5 - Edmondson style ticket for the tourHas photographers slide numbers on each slide.monash railway club, w2 class, tram 412, toorak road, burwood, burke road, riversdale road, trams, tramways, tickets, edmondson tickets -
Mission to Seafarers Victoria
Letter, Big and Little Films, Cruel Youth, 30 March 1988
Cruel Youth was a short film by director, Tony Ayres, filmed in the Mission to Seafarers in 1988. CREW: Director:Tony Ayres Writers: Tony Ayres Producers: Salli Engelander, Michael Mcmahon Dir. of Photography: Michael Williams Editor: Jill Holt CAST Guy Hudson ( Roger ) Caitlin Jones Karina Loscher Fiona Ruttelle The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals. And with its heritage feature is also a sought after filming location.A4 typed letter in black ink with logo from production company Big and Little FIlms in top right corner.Signature in black ink of Tony Ayres, Salli Engelander and Michael Mcmahon, date 30 -03-1988 written bottom of logo.cultural events, filming location, cruel youth, tony ayres, big and little films, screen guide, salli engelander, michael williams, jill holt, guy hudson, caitlin jones, karina loscher, fiona rutelle, michael mcmahon, lorraine -
Kiewa Valley Historical Society
Frame - Photograph
This photograph frame with its decorative floral and Greek patterned boarder was typical of the early 1900's when photography was in the hands of the professional artist. It was in a period before the "instant" photo and required a dark room and processing liquids for development. It was therefor in a time when photographs were "shot" only at important events be they family or public occasions.This photograph frame holds and protects, part of a very significant occasion, the 90th birthday photograph of the matriarch of one of the founding families within the Kiewa Valley. The frame therefore has historical significance.This gold painted aluminium photograph frame has a glass (broken) pane within a formed inlay and two swivel clip toggles. These are installed to allow the photograph to be securely positioned within the correct alignment of the the frame.The metal front plate has seven rivets holding the cloth covered cardboard back frame to the metal front cover. The front part of the frame has sculptured wild flowers and is boarded with a Greek "key" pattern. Half way on the back panel is a rectangular swiveled stabiliser flap. See also KVHS 0093.photograph frame early 1900's, the roper family -
Warrnambool and District Historical Society Inc.
Book, Amazon Printing, Warrnambool Sub Branch RSL 1917-2017 Serving Still, 2017
This book was published in 2017 to mark the centenary of the Warrnambool sub branch of the Returned Services League of Australia. It was produced by Avis Quarrell herself a world war 2 servicewoman and well known in the Warrnambool district for her photography, historical writing and involvement with Flagstaff Hill Maritime Village. The Warrnambool R.S.L. was established in 1917 and the War Memorial was erected in 1926. The Warrnambool R.S.L. is one of the oldest in Australia and this book records its history at the time of its centenary.This is a soft cover book of 100 pages . It has a multi coloured cover showing an R.S.L. badge, an Australian flag, the Warrnambool R.S.L. building and the Warrnambool War Memorial. It has an introduction, a contents page, acknowledgements and a foreword. It contains printed material with black and white and colour photographs and other images. Janet Avis Qavis quarrell, warrnambool r.s.l. -
Mission to Seafarers Victoria
Letter - Correspondence, 14/02/1951
In this letter to his mother Allan writes that this year Norway has had "...one of the heaviest falls of snow ever and just two miles from the post office there is nine feet of it." He has a job in a factory "...operating an electric drill boring holes in brass taps." He plans to return to London in September to attend the photography school.Quinn CollectionA self-folding letter written in green ink (0859.a) headed Oslo and dated 14/02/51. Letter is addressed to Mrs K Hayes, 14 Fitzroy Street, St Kilda, Victoria, Australia. The return address is Allan Quinn, G.P.O. Osloletters-from-abroad, allan quinn, norway, oslo -
Mission to Seafarers Victoria
Letter - Correspondence, 3/11/1951
Allan writes of attending the last night of the show 'Carousel' and that 'South Pacific', with Mary Martin in the lead, is playing in London. They also went to Albert Hall to hear Eileen Joyce play. He is enjoying his photography course and looking forward to the food parcel his mother is sending, particularly the eggs as they can only get one a week.Quinn CollectionA pale blue self-folding letter (0888.a1) headed 37 Elsham Road, London W 14 and dated 3/11/51. Letter is typed using a very small font. It is addressed to Mrs K Hayes, 14 Fitzroy Street, St Kilda, Victoria, Australia and postmarked London W1. In the upper right hand corner is a very faint promotional stamp "Civil Defence". The return address is Allan Quinn, 37 Elsham Road, London W14. letters-from-abroad, allan quinn, alette andersen, london-uk, 'carousel', 'south pacific', eileen joyce, albert hall, london -
Churchill Island Heritage Farm
Photograph - Set of card mounted photographs
Ian Crosbie was a signwriter and keen photographer. He was a member of the Phillip Island Camera Club and organised many photographic exhibitions. He often donated to cancer research, and his interest in photography waned with the advent of the digital cameras. These photographs were taken and printed by Ian Crosbie and show picturesque views around the Phillip Island area3 Clydesdale sculpture photographs (2004); 2 sunset photographs of Phillip Island (02/07/2004); 3 sunrise photographs at Cowes (05/07/2004). All eight photographs mounted on a single large piece of card.PENTAY 210 CAMERA - SAMSUNG 200 FILM/PHOTOS BY 'ICROS' CLYDESDALE/CHAIN SAW CARVING/CHURCHILL ISLAND/2004 DAY'S END PHILLIP ISLAND JULY 2 2004 EARLY SUNRISE AT COWES JULY 5 2004 churchill island, working horse festival, ian crosbie, clydesdale -
Churchill Island Heritage Farm
Photograph - Set of card mounted photographs
Ian Crosbie was a signwriter and keen photographer. He was a member of the Phillip Island Camera Club and organised many photographic exhibitions. He often donated to cancer research, and his interest in photography waned with the advent of the digital cameras. These photographs were taken and printed by Ian Crosbie and show picturesque views around the Phillip Island areaThree photographs of sunset at Cowes taken March 2005. Series of photographs taken at the 2005 Churchill Island Working Horse Festival - two of spinners, one of wagon wheels, one of peacock, and one of man with steam engine. All eight photographs mounted on a single large piece of card.PENTAX 210 CAMERA KODAK 400 FILM SUNSET/AT COWES/MARCH 2005 CHURCHILL ISLAND WORKING HORSE FESTIVAL MARCH 26 - 27, 2005churchill island, working horse festival, ian crosbie, clydesdale -
Churchill Island Heritage Farm
Photograph - Set of card mounted photographs, c.2004
Ian Crosbie was a signwriter and keen photographer. He was a member of the Phillip Island Camera Club and organised many photographic exhibitions. He often donated to cancer research, and his interest in photography waned with the advent of the digital cameras. These photographs were taken and printed by Ian Crosbie and show picturesque views around the Phillip Island areaTwo photographs depicting chain saw carving the Clydesdale sculptures, and four photographs of the Churchill Island Highland Cattle. All photographs mounted on a single large piece of card.CHAIN/SAW/CARVING/CHURCHILL ISLAND HIGHLAND CATTLE - CHURCHILL ISLAND FUJI FINEPIX 53000 DIGITAL CAMERA - JUNE 28 2004churchill island, working horse festival, ian crosbie, clydesdale -
Churchill Island Heritage Farm
Photograph - Set of card mounted photographs, c.2005
Ian Crosbie was a signwriter and keen photographer. He was a member of the Phillip Island Camera Club and organised many photographic exhibitions. He often donated to cancer research, and his interest in photography waned with the advent of the digital cameras. These photographs were taken and printed by Ian Crosbie and show picturesque views around the Phillip Island areaSix photographs of Clydesdale teams resting; 2 three-team working horses All photographs mounted on a single large piece of card.CHURCHILL ISLAND/WORKING HORSE FESTIVAL/MARCH 2005churchill island, working horse festival, ian crosbie, clydesdale -
Churchill Island Heritage Farm
Photograph - Set of card mounted photographs, c.2005
Ian Crosbie was a signwriter and keen photographer. He was a member of the Phillip Island Camera Club and organised many photographic exhibitions. He often donated to cancer research, and his interest in photography waned with the advent of the digital cameras. These photographs were taken and printed by Ian Crosbie and show picturesque views around the Phillip Island areaVariety of working horse festival photos: horse head, old cars, highland cow, pathway, horse drawn machine and hay roll, camel ride. All photographs mounted on a single large piece of card.0-17A 0-12A 0-20A 0-21A 0-22A 0-24A 0-23Achurchill island, working horse festival, ian crosbie, clydesdale -
Churchill Island Heritage Farm
Photograph - Set of card mounted photographs, c.2005
Ian Crosbie was a signwriter and keen photographer. He was a member of the Phillip Island Camera Club and organised many photographic exhibitions. He often donated to cancer research, and his interest in photography waned with the advent of the digital cameras. These photographs were taken and printed by Ian Crosbie and show picturesque views around the Phillip Island areaVariety of working horse festival photos: three of working horse teams, two of blacksmiths, three of camels. All photographs mounted on a single large piece of card.1-1A 1-2A 1-3A 1-20A 1-21A 1-23A 1-22A 1-24A PENTAX 210 CAMERA/CANOPOWER 100ASA FILMchurchill island, working horse festival, ian crosbie, clydesdale -
Churchill Island Heritage Farm
Photograph - Set of card mounted photographs, c.2005
Ian Crosbie was a signwriter and keen photographer. He was a member of the Phillip Island Camera Club and organised many photographic exhibitions. He often donated to cancer research, and his interest in photography waned with the advent of the digital cameras. These photographs were taken and printed by Ian Crosbie and show picturesque views around the Phillip Island areaVariety of working horse photographs: 1xtwo horse team resting; 2x two horse teams working; 1x three horse team; 2x four horse teams. All photographs mounted on a single large piece of card.2-8A 2-9A 2-12A 2-11A 2-10A 2-13A PENTAX Z10 CAMERA/CANOPOWER 100 ASA FILMchurchill island, working horse festival, ian crosbie, clydesdale -
Churchill Island Heritage Farm
Photograph - Set of card mounted photographs, c.2005
Ian Crosbie was a signwriter and keen photographer. He was a member of the Phillip Island Camera Club and organised many photographic exhibitions. He often donated to cancer research, and his interest in photography waned with the advent of the digital cameras. These photographs were taken and printed by Ian Crosbie and show picturesque views around the Phillip Island areaWorking horse teams: 2x four horse teams; 4x six horse teams; All photographs mounted on a single large piece of card.2-14A 2-15A 2-15A 2-17A 2-18A 2-19A PENTAX Z10 CAMERA/CANOPOWER 100 ASA FILMchurchill island, working horse festival, ian crosbie, clydesdale -
Churchill Island Heritage Farm
Photograph - Set of card mounted photographs, c.2005
Ian Crosbie was a signwriter and keen photographer. He was a member of the Phillip Island Camera Club and organised many photographic exhibitions. He often donated to cancer research, and his interest in photography waned with the advent of the digital cameras. These photographs were taken and printed by Ian Crosbie and show picturesque views around the Phillip Island areaWorking horse teams: 2x six horse; 2x three horse; 1x two horse; All photographs mounted on a single large piece of card.2-20A 2-21A 2-22A 2-23A 2-24A PENTAX Z10 CAMERA/CANOPOWER 100 ASA FILMchurchill island, working horse festival, ian crosbie, clydesdale