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Churchill Island Heritage Farm
Photograph - Photograph of fallen moonah trees
Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century to the present. This series of photos comes from an album entitled 'Aspects of Churchill Island'.Black and white photograph with white border showing fallen moonah tree trunks in front of a stand of treesCatalogue number written on reverse in pen/pencilchurchill island, landscape -
Churchill Island Heritage Farm
Photograph - Photograph of treeline by the shore
Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century to the present. This series of photos comes from an album entitled 'Aspects of Churchill Island'.Black and white photograph with white border showing the treeline by the shore on Churchill IslandCatalogue number written on reverse in pen/pencilchurchill island, landscape -
Churchill Island Heritage Farm
Photograph - Photograph of pine trees surrounding a pasture
Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century to the present. This series of photos comes from an album entitled 'Aspects of Churchill Island'.Black and white photograph with white border showing a group of large pine trees surrounding a pasture. Squat plank benches line the open field.Catalogue number written on reverse in pen/pencilchurchill island, landscape -
Churchill Island Heritage Farm
Photograph - Photograph of North Eastcorner of Amess House
Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century to the present. This series of photos comes from an album entitled 'Aspects of Churchill Island'.Black and white photograph with white border showing the north west corner of Amess House with a view of the drawing room, the sundial, and trees.Catalogue number written on reverse in pen/pencilchurchill island, landscape -
Churchill Island Heritage Farm
Photograph - Photograph of Rogers Cottage
Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century to the present. This series of photos comes from an album entitled 'Aspects of Churchill Island'.Black and white photograph with white border showing Rogers Cottage taken from the south.Catalogue number written on reverse in pen/pencilchurchill island, landscape -
Churchill Island Heritage Farm
Photograph - Photograph of Amess Barn
Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century to the present. This series of photos comes from an album entitled 'Aspects of Churchill Island'.Black and white photograph with white border showing Amess BarnCatalogue number written on reverse in pen/pencilchurchill island, landscape, amess -
Coal Creek Community Park & Museum
Phonograph Record, Adios / La Cumparista
Phonograph record with red "Capitol" label, with "His Master's Voice" cover. Side A: Adios, Side B: La Cumparista. Played by Les Baxter and his Orchestra.Reference number CP104 MX 45241 - 68951 -
National Vietnam Veterans Museum (NVVM)
Uniform, Flight Jacket
Flame resistant khaki jacket with six six various US and Australian badges including name 'virtue' used by dust off medicVirtue. Stock number: 8415 935 4898flight jacket, 'virtue' -
Moorabbin Air Museum
Plan (item) - Simulator Assembly Tow Boom United Technologies Sikorsky Aircraft
Drawing Number :65725-76574 Rev.1 -
St Kilda Historical Society
Ephemera - Ticket, Smoke Night and Presentation tendered to Ex-Councillor Joseph B Levi J.P, 1935
Ticket to a smoke night and presentation by the Mayor of St Kilda to former St Kilda Councillor Joseph Levi, held at St Kilda Town Hall on 13 November 1935. Joseph Levi (25 December 1856 - 25 October 1944) was, among his many civic and philanthropic activities, a St Kilda Councillor from 1922 to 1931, including a term as Mayor in 1924-25.Pale aqua coloured card printed in blueNumber stamp bottom left hand cornercity of st kilda, joseph levi, st kilda mayoral function -
Tatura Irrigation & Wartime Camps Museum
Drawing - Woodcuts, 1943
Camp 3. made by Gudrun and Isolde Frank, camp 3 c.Black and white sketches for calendar. 1943. 6 sketches. 1 - Cloudy sky, with hut and tree to the right and a truck front right; 2 - a guard tower on left hand side, 4 water tanks in Centre and a cloud to the right. front shows some rocks; 3 - Cloudy sky, 2 big trees (one on left and one on right), 3 bare trees in Centre. Across the front are 4 sheep and 4 four posts; 4 - 1 horse in foreground the 3 in back ground with trees in background; 5 - two children picking vegetables with a small hut to the right and a fence in front of 2 trees; 6 - 5 men working in a garden, 1 with wheelbarrow.the number 4 top right hand cornercamp 3, gudrun frank, isolde frank, frank zimmer, camp calendars, templers -
Tatura Irrigation & Wartime Camps Museum
Drawing - Woodcuts, 1943
Camp 3. made by Gudrun and Isolde Frank, camp 3 c.Black and white sketches for calendar. 1943. 5 sketches (all have 1943 above them): 1 - 3 men with part of hut on left hand side and huts behind. Poles with wire in front of huts; 2 - 5 guards marching with rifles with a big tree to the right of the photo and a fence with 4 posts in front; 3 - part of a hut showing an open door and open window; 4 - wild flowers from in camp; 8 people standing behind a bonfire holding signs. the number 4 top right hand cornercamp 3, gudrun frank, isolde frank, frank zimmer, camp calendars, templers -
Tatura Irrigation & Wartime Camps Museum
Photograph, Froschle, Ehnis, Beilharz and Bulach families, 1947
A family group of the three families. Templer Society. Back row (left to right): Fritz Bulach, Annelise Bulach, Eleonore Ehnis, Hermann Beilharz, Friedhelm Bulach, Irene Beilharz, Friedrich Froschle. Front row: Gunda Froschle, Ernstine Beilharz, Rudiger Froschle, Heinz Bulach and Anne Bulach.Black and white photograph of the Froschle, Beilharz and Bulach family. 3 men in suits and hats, 3 teenage girls and young boy standing, 3 wives seated and one young boy and youngest seated on mothers lap in front of washing line and hut.the number 213 on stand left hand front internee children, camp 3, froschle family, bulach family, templer society, fritz bulach, annelise bulach, eleonore ehnis, hermann beilharz, fridhelm bulach, irene beilharz, friedrich froschle, gunda froschle, ernstine beilharz, rudiger froschle, heinz bulach, anne bulach -
Robin Boyd Foundation
Journal, ATELIER, 1966
Article by Neville Gruzman, UNSW, "Architects of destruction". ATELIER is perhaps a UNSW student newsletter. Robin Boyd’s desk cupboard contained two exercise books (item D482.1-D482.2) and assorted articles, essays and other material regarding the building of the Sydney Opera House, inserted inside the front cover of Walkabout magazine, July 1966 (item P1377). This publication is one of those inserts. Many of these were collected by Boyd’s eldest daughter, Mandie, who recalls that her father was writing a book, but was very disillusioned with the way the entire Opera House saga unfolded. Foolscap, 5 pagesName and phone number in handwriting on reverse p5.sydney opera house, utzon, sydney opera house project, walsh st library -
University of Melbourne, Burnley Campus Archives
Book - Guest Book, 2016
Guest Book used at the Burnley Festival on 30.04.2016 to celebrate 125 years of teaching at Burnley.Signed with comments by a number of people associated with Burnley.burnley festival, 2016, visitors book, guest book, alumni -
Hume City Civic Collection
Photograph, 1970
The photograph was taken at the official opening of the Melbourne Airport at Tullamarine. The Prime Minister of the day, the Hon. John Gorton was the official guest at the opening.A black and white photograph of the Prime Minister, Hon. John Gorton standing on a dais and addressing a gathering of people. 11 people are in the official party seated, in the background. A floral arrangement has been placed across the front of the dais.Other number written on the back: 122AJ/70airports, melbourne airport, tullamarine, gorton, john. sir., commonwealth of australia, department of civil aviation: printing and publication centre, george evans collection -
Chiltern Athenaeum Trust
Painting - Oil Painting, Alfred Eustace
This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape -
Chiltern Athenaeum Trust
Photograph - Gum Leaf, Alfred Eustace
This colour photograph of a gum leaf painting shows one of the many landscapes done by the well-known self-taught Australian artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist and taxidermist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Colour photograph of an oil painting on gum leaf by Alfred Eustace. Landscape featuring a deep creek surrounded by thick bushland displayed against dark brown backing paper which has a gilt oval surround to highlight the painting. Under glass, in a gold and dark brown metal frame.Sticker on back: 189. (the original registration number)alfred eustace, gum leaf painting, landscape -
Chiltern Athenaeum Trust
Photograph
This black and white photograph of the grave of A.W. Eustace is believed to have been taken in September 1987 at the Chiltern New Cemetery. Alfred William Eustace, an Australian artist, was born in the small village of Ashbury, Berkshire, England, the son of John Eustace, Head Game-keeper to the Earl of Craven at the beautiful Ashdown Park. He migrated to Australia with his wife and children in 1851 and camped next to the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was owned by the Withers family and was in excess of 55,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skillful taxidermist. The collection of birds and animals that are in the Beechworth Museum collection are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by his relatives from the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.A. W. Eustace, as well as being a well-known Australian artist, was a significant member of the Chiltern community.Black and white photograph of the grave of A.W. Eustace, under glass, in a metal frame.Sticker on back: 184 (original Registration number)a. w. eustace, grave, chiltern new cemetery -
Clunes Museum
Photograph
SEPIA PHOTOGRAPH OF CLUNES PRIMARY SCHOOL SHOWING A GATHERING OF PEOPLE AND STUDENTSTHE NUMBER OF THE SCHOOL IS 1552 AS SHOWN ON THE FRONT OF THE BUILDINGlocal history, photography, photograph, schools 1552 -
Peterborough History Group
Book, E. M. MacKenzie, Shipwrecks: An authentic account of wrecks from Peterborough to Cape Otway 1843-1914, 2004
An authentic account of shipwrecks in the area, written by M. E. MacKenzie, a life long resident of Peterborough.Significant as author was a life long resident of Peterborough.Softcover 86 page bookThis is book number 49 (inscribed inside cover). shipwreck coast, m.e.mackenzie, peterborough 3270, authentic shipwreck recollections, the joanna, the schomberg, the champion, marie gabrielle, young australia, loch ard, eric the red, newfield, falls of halladale, antares -
Yarrawonga and Mulwala Pioneer Museum
Upright Vacuum Cleaner, Vacuum
Approx 1metre H. this metall and wood structure supports a cloth bag attached to handle via a metal. Hook. It has two rollers and boasts "independent of electricity"Newmaid Made in England. Unable to read the number -
Stawell Historical Society Inc
Photograph, Steam Trains at Stawell Station -- 6 photos -- Coloured
Series of 6 photos, Steam train "D", 3 class and passenger carriages at Stawell Station. c 1990Series of 6 colour photographs of Steam Trains & passenger carriages at Stawell Station "D" 3, ?39 unsure of first number.railways -
Stawell Historical Society Inc
Map, Western Mining Corp / Stawell Joint Venture, Stawell & District with Mine Working Areas shown in red, 1987
Covers from Magdala East site to Germania in North and Hand in Hand at West Legend of Mine workings numbered. 1980's mining, gold, map -
Stawell Historical Society Inc
Map, Stawell Gold Mine, SGM Mineralized System Longitudinal Projection showing Diamond Drilling Holes 2007, June 2007
Section of Big Hill showing Diamond Drill holes through Magdala, Magdala North and Golden Gift Ore bodies to 2000m levelLegend of Mine workings numbered. 1980's mining, gold, map -
Dandenong/Cranbourne RSL Sub Branch
Weapon - Sword
WW2 Sword Donated by Mr Peter CottonWWII Sword metal with metal handle and hilt with clip that scures it in Scabbard when sheathed. Metal handle has xxx pattern. D shaped hilt. Refer 0063-02 (Scabbard)) Hilt extends out 3mm from the rear of the blade to protect the users hand and fingers.Number 74428 recorded on blade near handle. -
Dandenong/Cranbourne RSL Sub Branch
Weapon - Scabbard WWII
WWII Donated by Mr Peter CottonMetal scabbard to fit sword ( refer item 0063.1) protruding metal protector at base and metal ring near top of scabbard. Has at top a connecter for locking clip on the sword.number 116410 stamped on metal protecter at base. -
Ringwood RSL Sub-Branch
Basic Pouch
Khaki Webbing Pattern 37Small printed on back Regimental number SX18008 -
Numurkah & District Historical Society
Tin Steam Locomotive
Red and black coloured tin steam locomotive, with gold lining. Two small and three large tin wheels on either side. Wind-up key on one side. Wind-up mechanism doesn't workGold printed number: 659 on both sidestoys, children, presents, tin, locomotive, train -
Robin Boyd Foundation
Document - Manuscript, Robin Boyd, The Architect's Role in the Community
Appears to be a handwritten speech where Boyd discusses the architect's role in the community and describes architecture as "getting bigger". Boyd describes the shift in architect's thinking as moving away from the individual building to the city or the community. He argues that architecture inherently affects our lives if we live in ugliness, or in attractive surroundings and that the architect is responsible as moral and artistic leaders of the built environment.Handwritten (pencil), quarto, 1 pageNumbered paragraphs. Underlined phrases. Circles in margin.w.churchill, buckminster fuller, strategic plan for sydney, megastructure, community, park the length of swanston street, japan