Murray Comrie Collection. In June 1866, Aimé Marchand (1846-1910) made a series of fourteen photographs which were submitted to the 1866-67 Melbourne Intercolonial Exhibition, where they earned a 1st Class Honorable Mention. This is one of those fourteen images. Of French or Belgian origin and possibly formerly an assayer in California, Marchand appears to have begun his practice of photography in Tarnagulla around 1865 as an assistant to A.B. Clay. By the following year he had settled in Portland, where he opened the Royal Photographic Studio in Gawler Street. From his base in Portland he toured surrounding districts, offering portrait and view services. Little else is known about his life. He appears to have left Australia in 1878. A misprint of his name in a local directory as Annie Marchand created the misconception that he was one of only a few named women photographers in the colonies. Monochrome photograph depicting a view across Tarnagulla in June 1866.tarnagulla, views, mining, aimé marchand, photographers

Murray Comrie Collection. Copy of an 1866 photograph by Aimé Marchand. The building was originally Company's Hotel, then used as temporary premises by the Colonial Bank during construction of the bank's own premises, then Borough of Tarnagulla Council Chambers and Mechanics Institute. Also known locally as Burstall Hall from c1960 following a donation of maintenance funding from the Estate of the late RH Burstall. In June 1866, Aimé Marchand (1846-1910) made a series of fourteen photographs which were submitted to the 1866-67 Melbourne Intercolonial Exhibition, where they earned a 1st Class Honorable Mention. This is one of those fourteen images. Of French or Belgian origin and possibly formerly an assayer in California, Marchand appears to have begun his practice of photography in Tarnagulla around 1865 as an assistant to A.B. Clay. By the following year he had settled in Portland, where he opened the Royal Photographic Studio in Gawler Street. From his base in Portland he toured surrounding districts, offering portrait and view services. Little else is known about his life. He appears to have left Australia in 1878. A misprint of his name in a local directory as Annie Marchand created the misconception that he was one of only a few named women photographers in the colonies. Monochrome photograph the Tarnagulla Council Chambers in June 1866. tarnagulla, views, burstall hall, council chambers, local government, commercial road, local people, residents, aimé marchand, photographers

Murray Comrie Collection. Copy of an 1866 photograph by Aimé Marchand. In June 1866, Aimé Marchand (1846-1910) made a series of fourteen photographs which were submitted to the 1866-67 Melbourne Intercolonial Exhibition, where they earned a 1st Class Honorable Mention. This is one of those fourteen images. Of French or Belgian origin and possibly formerly an assayer in California, Marchand appears to have begun his practice of photography in Tarnagulla around 1865 as an assistant to A.B. Clay. By the following year he had settled in Portland, where he opened the Royal Photographic Studio in Gawler Street. From his base in Portland he toured surrounding districts, offering portrait and view services. Little else is known about his life. He appears to have left Australia in 1878. A misprint of his name in a local directory as Annie Marchand created the misconception that he was one of only a few named women photographers in the colonies. Monochrome photograph looking north down Commercial Road, Tarnagulla from the roof of the Council Chambers. tarnagulla, views, burstall hall, council chambers, local government, commercial road, local people, residents, aimé marchand, photographers

Murray Comrie Collection. Copy of an 1866 photograph by Aimé Marchand. Thomas Comrie's Exchange Store was at south end of Commercial Road, it has since been destroyed. In June 1866, Aimé Marchand (1846-1910) made a series of fourteen photographs which were submitted to the 1866-67 Melbourne Intercolonial Exhibition, where they earned a 1st Class Honorable Mention. This is one of those fourteen images. Of French or Belgian origin and possibly formerly an assayer in California, Marchand appears to have begun his practice of photography in Tarnagulla around 1865 as an assistant to A.B. Clay. By the following year he had settled in Portland, where he opened the Royal Photographic Studio in Gawler Street. From his base in Portland he toured surrounding districts, offering portrait and view services. Little else is known about his life. He appears to have left Australia in 1878. A misprint of his name in a local directory as Annie Marchand created the misconception that he was one of only a few named women photographers in the colonies. Monochrome photograph looking north down Commercial Road, Tarnagulla from the Wayman Street corner, opposite Thomson and Comrie's Exchange Store (at south end of Commercial Road).tarnagulla, views, thomas comrie, comrie exchange store, commercial road, local people, residents, aimé marchand, photographers

Murray Comrie Collection. Copy of an 1866 photograph by Aimé Marchand. Victoria Hotel and Theatre is the stone building at centre right. On the immediate left is Pierce's Southern Cross Store, later to be incorporated into the flour mill complex. The gentleman in the white hat in the group on the left is George Thomson. In June 1866, Aimé Marchand (1846-1910) made a series of fourteen photographs which were submitted to the 1866-67 Melbourne Intercolonial Exhibition, where they earned a 1st Class Honorable Mention. This is one of those fourteen images. Of French or Belgian origin and possibly formerly an assayer in California, Marchand appears to have begun his practice of photography in Tarnagulla around 1865 as an assistant to A.B. Clay. By the following year he had settled in Portland, where he opened the Royal Photographic Studio in Gawler Street. From his base in Portland he toured surrounding districts, offering portrait and view services. Little else is known about his life. He appears to have left Australia in 1878. A misprint of his name in a local directory as Annie Marchand created the misconception that he was one of only a few named women photographers in the colonies. Monochrome photograph looking south down Commercial Road, Tarnagulla from near the Victoria Hotel and Theatre, at northern end of Commercial Road.tarnagulla, views, victoria hotel and theatre, commercial road, local people, residents, aimé marchand, photographers

A small booklet issued as the program for an exhibition celebrating 130 years of music and theatre in Albury Wodonga. It consists of 16 pages and contains illustrations, a map, and portraits.Dr. Barnett and the "Irish Tiger" was an in-house and travelling exhibition of the Albury Regional Museum. The in-house exhibition took place from 14 December 1985 until 30 June 1986. The travelling exhibition were available for three to six week periods between July 1986 and July 1987. Museums, galleries, schools and libraries could apply to host the exhibition. The Albury Amateur Dramatic Club was formed in 1859. In December that year, they staged a production of "Two Heads are Better Than One", and the "Irish Tiger" at the Theatre Royal which was attached to the Imperial Hotel in Townsend Street, Albury to raise money for the building fund for a Mechanics Theatre Dr Joseph Knight Barnett was Involved in the formation of the Dramatic Club and was stage manager for these productions. Other topics in the exhibition included Historic Pipe Organs, Town Bands of Albury and Wodonga, and Concert Halls, Theatres and Schools of Music and Drama.joseph knight barnett, albury theatre, wodonga theatre, music and theatre albury wodonga

A photo of Legatee George Knocks from his time in the Royal Navy. George Knocks was born in the UK and joined the Royal Navy in World War 1. He later migrated to Australia and joined Legacy in 1929 until his death in 1945, he left a significant bequest to Melbourne Legacy which was used to help many people. Information from a press release in 1975 relates the story of George Knocks who joined Legacy and left a bequest that made a difference. The information was intended to be used by press and magazines etc. A longer version of the story is in the Weekly Bulletin - 29 Sept 1964 and a document prepared by Legatee Armstrong in 1965 called One Man's Legacy. Summary: George was described as a lonely ex-seaman who migrated to Australia after the first world war. He learnt about Legacy and the work with widows and children. 'He joined up as a Legatee and from that day, the pattern of life changed greatly for George. He became absorbed in his new environment and spent most of his time with the children. The mothers found in him a rugged, but completely trustworthy friend.' When George died on 14 April 1945 he was mourned by many Legacy friends. His left his property to four comrades, as trustees to use in continuing Legacy's work, this bequest became the George Knocks Fund. As a result, a great many people in Legacy's care were helped, in all sorts of ways.A record of the life of a legatee.Sepia portrait of George Knocks in Royal Navy uniform plus an envelope initialled by Legatee Brian Armstrong.Reverse of photo is printed as postcard and has handwritten 'Legatee George Knocks' in blue pen and '4/4/46' and '5193' in pencil. Envelope has handwritten 'Legatee George Knocks / On Active Service 1914-1918' in blue pen and initialled 'JHBA' which is Legatee Brian Armstrong.george knocks, fund, bequests

A portrait of His Royal Highness Prince Philip, Duke of Edinburgh that has been owned by Legacy for many years. It was previously hung alongside a painting of Her Majesty Queen Elizabeth II, but has been moved to storage in the archive. Extremely similar to a portrait of Price Philip that is owned by the City of Melbourne. It had been painted in 1956 just before Price Philip opened the Olympic games in Melbourne. Perhaps this was a draft or copy of the City of Melbourne portrait. Prince Philip was an honorary member of Legacy after a visit to Sydney Legacy in 1954.Oil painting of Prince Philip in a gilded wooden frame.Author signature in bottom right, 'Dargie'.portrait, prince philip

A portrait of a former Junior Legatee, Noel Shiels who had enlisted in the Royal Australian Air Force in World War 2. It was in an album of photos taken in the 1940s (mostly 1945). Research on NAA.gov.au and DVA confirms it was Noel Lindsey Sheils Service No 430062, who was born 31 March 1924 in Preston who joined the RAAF when he enlisted on 4 December 1942, he became a pilot and his rank was flying officer and was posted with the 37 Squadron. His father was James Howard Sheils Service No 158 of the 1st Bay AFA who died in May 1931 leaving his wife and 5 children. Noels brother Brian joined the AIF, his sister Wendy joined the WRANS.A record of a junior legatee enlisting to serve in the second World War.Black and white portrait of Noel Shiels in RAAF uniform, he had been a junior legatee. Part of a photo album with blue leather look back and front cover. From one of 20 pages with black and white photos.junior legatee, raaf, noel shiels

A portrait of Her Majesty Queen Elizabeth II by William Dargie that was acquired in 1967. It was previously hung alongside a painting of HRH Prince Philip, Duke of Edinburgh, but has been moved to storage in the archive. A newspaper article in 1967 shows Governor of Victoria, Sir Rohan Delacombe and President of Melbourne Legacy, George Cowan at the unveiling of the portrait.Oil painting of Queen Elizabeth by William Dargie in a gilded wooden frame.Author signature in bottom right, not legible.portrait, queen elizabeth, dargie, delacombe, george cowan

The newsletter from December 1951. It featured the Royal Family on the cover. Pages showed news from the different Boys and Girls Classes. A good portrait of President Morrie Tonkin. A newsletter published by Legacy in this format for many years from 1942. It mentions "Issued from time to time for Private Circulation among the Sons and Daughters of Deceased Service men and Merchant Seamen who served their Country during the War of 1914-18, or the present War". Many articles on the work of Legacy, including features on boys classes, girls classes, camps, the residences and where their past residents ended up. There are some suggestion for careers and some general interest articles. Some very interesting photos.Newsletter outlining news of Junior Legatee activities.Black and white printed newsletter x 8 pages from December 1951. Volume 4 Number 3boys classes, activities, girls classes

Portrait of Alexina Duncan (nee Butcher) who was the wife of David Duncan, the first treasurer of the Port Phillip Farmers' Society in 1848. The Port Phillip Farmers' Society eventually became Melbourne Royal. The painting is part of a pair with a portrait of David Duncan.Oil Portrait In Heavy Elaborate Gilt Timber FrameON BRASS PLATE - PRESENTED FOR ALEXINA DUNCAN BUTCHER BY HER FAMILY THE ORIGINAL AUSTRALIAN ANCESTORS ALEXINA DUNCAN WIFE OF DAVID DUNCANrasv, duncan, alexina duncan, treasurer, port phillip farmers' society

Portrait of David Duncan, the first treasurer of the Port Phillip Farmers' Society. A five-piece silver tea service given to Duncan and held by the family for 135 years was donated to the RASV in 1987. The painting is part of a pair with a portrait of Duncan's wife, Alexina Duncan.Oil Portrait In Heavy Elaborate Gilt Timber Frame. Envelope taped to back containing a press clipping from 'Country News', September 27, 1992 about David Duncan.ON BRASS PLATE -PRESENTED FOR ALEXINA DUNCAN BUTCHER BY HER FAMILY .THE ORIGINAL AUSTRALIAN ANCESTORS. DAVID DUNCAN TREASURER OF THE PORT PHILLIP FARMERS SOCIETY, FOUNDED 1848. RASV 4L ON BACKduncan, david duncan, rasv, royal agricultural society of victoria

For this series - refer to Cat No's 9546.7, 9547.4, 9548.4, 9549.5. Items in the collection of "William John SULLIVAN" VX57829. Refer cat. No. 9523P for his service record.1. - 4. Hard cover book with dust covers. Hardcover - cardboard with green buckram. Dark blue print on front and spine. All pages, cut, plain, off white colour paper. Illustrated in black and white and colour photographs, paintings, maps, sketches and diagrams. 200 pages. Dust covers - paper. All end papers are illustrated. 1. "THESE EAGLES/ STORY OF THE RAAF AT WAR" 1942. Hard cover illustration - line drawings of an eagle in flight. Dust cover - dark blue and red print on front and spine. Pale blue background. Illustration - Eagle in flight and RAAF Roundel. 2. "RAAF LOG" 1943. Hard cover illustration, silhouette half portrait of an airman. Dust cover - white print on dark blue background front and spine. Illustration - blue, beige and white silhouette of an airman. 3. "RAAF SAGA" 1944 Hardcover illustration - silhouette of two aircraft. Dust cover - green and black colour print on front and spine. Illustration - air crew with two aircraft on the ground. 4. "VICTORY ROLL/ THE RAAF AT WAR" 1945. Dust cover white and black print on front and spine. Blue background. Illustration - silhouette three aircraft in flight. Back - photograph of Australian War Memorial, Canberra.book series, raaf, ww2, william john sullivan

Small, full-length portrait of a man. He is wearing a three-piece suit and standing beside a small table with his right hand resting on some books on the table. Rear shows 'words 'Photographed by Mr. R Griffiths, Truro, Artist Under Government / Picture of Royal crestMr R Griffiths, Trurophotograph, portrait, male, mr r griffiths

.1) Jack Gerdson and Norm Tupper both served in Korea. .2) Norm Tupper. Norm Tupper, refer Cat No 6860.1) Photo, coloured, taken in an old drill Hall, Mollison Street, Bendigo. Shows 2 men & 1 lady with picture boards on stands behind them. .2) Photo, black & white, waist up portrait taken of an Australian soldier with tilted slouch hat, sleeves rolled up & ID disc partly visible. Korean vintage. .1) Marked on rear: “Jack Gerdsen, Norm Tupper & Mrs Tupper”photography-photographs, passchendaele barracks trust, korea, royal australian survey corps

Eliza Cameron, a daughter of Ewen and Marion Cameron, was born at Linton in 1869. Eliza married Murdoch Robertson in 1899 and died at Surrey Hills in 1957. Photograph is part of Old Lintonian collection ; No. 122.Sepia portrait of a young lady wearing fashionable high necked gown, hair gathered in bun at back of head.eliza robertson, eliza cameron, old lintonian collection

Walter Withers once lived at the corner of Bolton and Brougham Streets, Eltham. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p105 Walter Withers, one of Australia’s most famous artists, once lived in Southernwood, the weatherboard house at the corner of Bolton and Brougham Streets, Eltham. Withers, one of the first prominent artists to live in Eltham, was known for his lyrical paintings of the Australian bush and is associated with the Heidelberg School of artists. Withers was born in 1854 at Handsworth, Warwickshire, England, the grandson of an artist. He studied art at the Royal Academy of Arts, London. But in 1882 his father, opposing an artistic career for Withers, ordered him to go to Australia. However, after working as a jackaroo on several country properties for 18 months, Withers resumed painting in Melbourne, where he enrolled in evening art classes at the Melbourne National Gallery school of painting under G F Folingsby. Employed as a draughtsman by William Inglis & Co, then by Ferguson & Mitchell, lithographic printers, Withers produced portraits in black-and-white for several periodicals. His work was exhibited in the Old Academy, Melbourne. At this time he met and became life-long friends with artists Frederick McCubbin, Tom Roberts and Louis Abrahams. In 1887 Withers went to England and married Fanny Finn. They lived in Paris for awhile, where Withers studied at the Academie Julian. After his return to Melbourne in 1889, Withers lived at the artist camp at Eaglemont, then moved close to the Charterisville mansion, where he established a studio and sub-let cottages to other artists. Around 1892 Withers opened a Collins Street studio, had his first exhibition, and started giving painting classes. One of his pupils was Norman Lindsay, also to become a prominent artist. Withers had long been attracted to Eltham, but had to wait until 1903 to live there, after the railway line was extended to Eltham in 1902. He could then commute to the painting classes he gave in Melbourne. Withers lived on the two and a half acres (1.0ha) Bolton Street property with his wife and five children. They were joined for a short time by prominent painter Sir Hans Heyson who took lessons from Withers. Withers added a studio to the Queen Anne/Edwardian style seven-bedroom home, which had been built in 1891. Each bedroom included a fireplace and most rooms had 12 foot high (3.6m) ceilings. The house retains several fine leadlight windows. Withers painted his largest canvas The Return from the Harvest in 1905, at his Eltham studio. He is represented in national, state and regional galleries, and in many private collections in Australia and abroad. In 1904-05 Withers was president of the Victorian Artists’ Society. Withers at times stayed during the week at his studio in Oxford Chambers, Melbourne, and on weekends and holidays with his family at Eltham. Withers lived in Eltham until his death in 1914, aged 60 years. He had been plagued by rheumatism and in later life by heart and lung disease. It is said he died of a stroke peacefully in a rocking chair in front of the lounge-room fire. He is buried at St Helena in the St Katherine’s Anglican Church cemetery. In 1983, the auction of the house sparked fears that it would be pulled down, or substantially altered. Fortunately the new owners decided to retain the house. Some security was given to the house’s future when it was later included in the Heritage Overlay to the Nillumbik Planning Scheme. The property is also important because it is one of only a few left in the district, which were once owned by noted artists. These include three in Warrandyte: one formerly owned by Penleigh Boyd, another by Frank Crozier, and the other by Danila Vassilieff; and two in Eltham: Percy Leason’s in Lavender Park Road and Justus Jörgensen’s Montsalvat. A small park at the corner of Bible and Arthur Streets, Eltham is named in Walter Withers’ honour.This 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, bolton steet, brougham steet, eltham, southernwood, walter withers house

Joshua Black was an Irish Stonemason who came to Portland. He helped to build many significant buildings including what is now the Royal Hotel and Julia Street Creative Space as well as the Scotts Presbyterian Church.Portrait of a man against a blank brown and black background. He is in formal attire, with black jacket, high-collared white shirt and black cravat. His hair (black) is parted on the left and he has side burns descending past his cheekbones. Framed in a black frame with gilding.Front: (no inscriptions) Back: (no inscriptions) Conservation Centre, Melbourne - label.portrait, portraits, male, man, victorian, portland, buildings, builder

This poster promotes the merits of travelling by train to the Royal Melbourne Show of 1958. The Showgrounds train station was one of the first buildings built on the Melbourne Showgrounds in Ascot Vale when the site was established in 1883, allowing patrons quick access to the venue despite it being slightly further out from the city than previous sites.A poster, printed portrait and in colour. The upper half of the poster shows a woman on a jumping horse, on a purple background; the lower half consists of a list of the advantages of taking the train, lettered in white on a black background; screenprint and process lithograph, linen-backed.SEPT. 19 – 28 / Go to / MELBOURNE'S / ROYAL SHOW / by train / - RIGHT TO THE GROUNDS / - NO PARKING PROBLEMS / - COMBINED RAIL-ADMISSION TICKETS / - WEEKLY OR NINE DAY RAIL TICKETS / - SEE THE RAILWAYS EXHIBIT / - MEMBERSHIP TICKETS AT VICTORIAN / GOVT. TOURIST BUREAU /train, metro trains, showgrounds, melbourne showgrounds, royal melbourne show, 1958 melbourne royal show, melbourne royal show, showgrounds station, railway

A poster promoting the merits of travelling by train to the Royal Melbourne Show of 1958. The Showgrounds train station was one of the first buildings built on the Melbourne Showgrounds in Ascot Vale when the site was established in 1883, allowing patrons quick access to the venue despite it being slightly further out from the city than previous sites.A portrait poster, printed in colour; in the upper half of the poster there is an illustration showing a family of four, walking to the right; in the background is a photograph of a train station; the lower half of the poster consists of a list of the advantages of taking the train, printed on five horizontal stripes, white and green; colour process lithograph, linen-backed.BY TRAIN of course / TO MELBOURNE'S / ROYAL SHOW / SEPTEMBER 18 - 28, 1958/ NO PARKIGN PROBLEMS OR FEES / FREQUENT EXPRES SERVICE FROM FLINDERS ST. & SPENCER ST. RIGHT TO THE GROUNDS / DAY OR PERIODICAL TICKETS; COMBINED RAIL-ADMISSION TICKETS / NEW RAILWAY EXHBIIT WITH FREIGHT ADVISORY SERVICE / YOUR SUBURBAN STATION AHS DETAIL-PACKED PAHMPHLET /train, metro trains, showgrounds, melbourne showgrounds, royal melbourne show, 1985 melbourne royal show, melbourne royal show, showgrounds station, railway

187 pages : illustrations, maps, portraits, facsimilesnon-fictionCanterbury: A History covers the history of the suburb of Canterbury, Victoria from its Aboriginal history as part of the country of the Wurundjeri people to its completed development as a middle-class suburb by the late 1950s. The book had been a labour of love by esteemed historian, Don Gibb, for many years. Don’s sudden death in late 2017 left the manuscript uncompleted. The Canterbury History Group and the Royal Historical Society of Victoria, together with Don’s family, were determined to see Don’s book completed and published. Jill Barnard contributed the final two chapters dealing with the inter war and post-World War II decades.canterbury, canterbury history, residential development, maling road, gibb> don

Portrait of a man seated beside a table. He has a quill in his hand and his hand resting on a sheet of paper on the table. 96560 stamped on the back with a handwritten c. /Rear shows - Maull & Co Photographers to the Royal Family 62 Cheapside and 187a Piccadilly LondonMaull & Co., 60 Cheapside and 187A Piccadilly, Londonportrait, male, portrait of a man, maull & co., carte de visite

This photograph shows a baby with a black sheep in the Melbourne Royal Show Animal Nursery. The Animal Nursery, first set up in 1964, has been a place where Show-goers can get up close experiences with a variety of farm animals.Colour photograph, portrait, printed on glossy paper.children, kids at show, sheep, animal nursery

Colonel Sir Charles Merrett VD is the longest serving President of the RASV. He served in the role for 31 years from 1915 to 1946. This oil painting was presented to him in 1925 by the Council of the RASV. Oil Painting In Wooden Frame, Gold GiltPRESENTED TO COLONEL C. E. MERRITT VD BY THE COUNCIL OF THE RAS AS A MARK OF ESTEEM AND IN RECOGNITION OF MANY YEARS OF VALUED SERVICE AS PRESIDENT 5.2.25merritt, c.e. merritt, longstaff, john longstaff, merrett, ce merrett, charles merrett, colonel sir charles merrett vd, sir charles merrett, colonel charles merrett, royal agricultural society of victoria, rasv, melbourne royal, president, rasv president

John MITCHELL (1837 - 14 July 1926) Born Woodside, Donside, Scotland John Mitchell attended evening classes under James Giles in Aberdeen, and was also taught by his uncle the Peterhead artist John Mitchell. After an apprenticeship at a local lithographic company (Keith and Gibb) John Mitchell went to London to study at the Slade under Legros. Returning to Aberdeen he painted many scenes around the city and Aberdeenshire, including Balmoral, under the patronage of Queen Victoria. John Mitchell gave lessons in painting to the Royal Family. His landscapes are highly coloured with dominant blues and purples in the hills and with vivid greens and yellows in the foreground, subtly fused and never garish. He lithographed sketches for John Stewart's 'The Sculptured Stones of Scotland', 2 vols 1856-57, illustrated 'Under Lochnagar' 1894. His landscapes of Aberdeenshire are highly prized especially in the area in which he lived. His painting in the Mearns is regarded by some as his best work. In 1875 he painted an interior of Culter Castle and its Chapel which was subsequently purchased by the owner and in 1883 showed a portrait of his mother. Lived latterly at 10 Gladstone Place, Queen's Cross, Aberdeen. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed watercolour of a Scottish Scene by John Mitchellart, artwork, john mitchell, mitchell, scotland, scottish, art, artwork, john mitchell, mitchell, scotland, scottish

John MITCHELL (1837 - 14 July 1926) Born Woodside, Donside, Scotland John Mitchell attended evening classes under James Giles in Aberdeen, and was also taught by his uncle the Peterhead artist John Mitchell. After an apprenticeship at a local lithographic company (Keith and Gibb) John Mitchell went to London to study at the Slade under Legros. Returning to Aberdeen he painted many scenes around the city and Aberdeenshire, including Balmoral, under the patronage of Queen Victoria. John Mitchell gave lessons in painting to the Royal Family. His landscapes are highly coloured with dominant blues and purples in the hills and with vivid greens and yellows in the foreground, subtly fused and never garish. He lithographed sketches for John Stewart's 'The Sculptured Stones of Scotland', 2 vols 1856-57, illustrated 'Under Lochnagar' 1894. His landscapes of Aberdeenshire are highly prized especially in the area in which he lived. His painting in the Mearns is regarded by some as his best work. In 1875 he painted an interior of Culter Castle and its Chapel which was subsequently purchased by the owner and in 1883 showed a portrait of his mother. Lived latterly at 10 Gladstone Place, Queen's Cross, Aberdeen. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed watercolour of a creek in Scotland.art, artwork, art, artwork, john mitchell, mitchell, scotland, scottish

Edwin James Godden, the son of Charlotte and John Godden, was born at Bungaree in 1875. He was licensee of the Royal Standard Hotel in Linton from 1915 until it closed and was delicensed around 1919-1920.Black and white head and shoulders portrait of a man with a moustache who is dressed in a formal suit."(Jim) Edwin James Godden / died 1966 (91 years)".edwin james (jim) godden, royal standard hotel

The coin was discovered by Julie Wilkins, a Victorian scuba diver who had already experienced more than 500 dives in Australia and overseas. She was holidaying in Peterborough, Victoria, and looking forward to discovering more about the famous Loch Ard ship, wrecked in June 1878 at Mutton Bird Island. The fast Glasgow-built clipper ship was only five years old when the tragedy occurred. There were 54 people on board the vessel and only two survived Julie's holiday photograph of Boat Bay reminds her of her most memorable dive. Submerged in the calm, flat sea, she was carefully scanning around the remains of the old wreck when, to her amazement, a gold coin and a small gold cross suddenly came up towards her. She excitedly cupped them in her hands, then stowed the treasures safely in her wetsuit and continued her dive. She soon discovered a group of brass carriage clock parts and some bottles of champagne. It was a day full of surprises. The items were easily recognisable, without any build-up of encrustations or concretion. Julie secretly enjoyed her treasures for twenty-four years then packed them up for the early morning train trip to Warrnambool. After a short walk to Flagstaff Hill Maritime Museum and Village, her photograph was taken as she handed over her precious find. She told her story to a local newspaper reporter, lunched a café in town then took the late afternoon train home. Her generous donation is now part of a vast collection of Loch Ard shipwreck artefacts, including the gold watch and the Minton Majolica model peacock. The coin is a British 1793 George III Gold Spade Guinea. It was already 83 years old when the Loch Ard had set sail. The loop and ring have been added, perhaps as a pendant, pocket watch accessory or similar purpose. It may have been worn for ‘good luck’ on the long journey to Australia, where ships had to carefully navigate the treacherous Bass’s Strait before arriving at their destination of Melbourne. Sadly, many met their fate on that short stretch of ocean aptly named the Shipwreck Coast. The coin is very recognisable even though it was exposed to the wrecking of the ship, its consequent movement, and the sea's turbulence. Its bent, scratched, buckled, split, dinted and worn condition is part of its story. The red-brown-black discolouration is similar to that found on other gold coins, sometimes called the ‘corrosion phenomena’. Studies suggest the possible cause is contaminants in the minting process reacting to the coins’ environment. The GEORGE III GOLD SPADE GUINEA: - The British Guinea was introduced in 1663 and was circulated until 1814. It was made of 22 carat gold, was 25 to 26 cm in diameter and weighed 8.35 grams. It had a value of 21 British shillings. The guinea coin ceased circulation after 1816 and was replaced by the one-pound note. However, the term ‘guinea’ continued to represent 21 shillings. King George (1738-1820) had six gold guinea designs minted during his reign from 1760 and 1820. Each of the six had different obverse portraits, all facing the right. There were three different reverse sides. The Spade Guinea was the fifth issue of the coin, introduced in 1787 and produced until 1799. The reverse shows a royal crown over a flat-topped shield with the Royal Arms of Great Britain, used in Scotland between 1714 and 1800. The shield images are, from left to right, top to bottom, the Arms of England and Scotland, the Arms of France, the Arms of Ireland, and the Arms of the House of Hanover. The Gold Guinea is also part of Australia’s history. It was the first coin mentioned in the announcement of Governor King of New South Wales his Australian Proclamation of a limited variety and denomination of coins accepted for use in the Australian Colony. The historic and decorative George III Spade Guinea has been reproduced for special collections of coins. However, replicas and imitations have also been made as souvenirs for tourists, as gaming tokens and chips for gamblers, and as ‘fake’ coins for profit. These coins differ in many ways; they may be only half the weight of the genuine coin. Often have a small stamp on the obverse with “COPY” or the manufacturer’s name or initials. Some have scalloped edges, some have dates that are different to the original dates of issue, and some even have text in Latin that translates as something very different to the original coin.The King George III Guinea was only produced from 1663 to 1814 and was the first English coin to be mechanically minted. The coin is the fifth edition of the King George III Guinea, the Spade Guinea, was only produced between 1787 and 1799. It is the only edition with this portrait of King George and the only one with the Royal Coat of Arms of Great Britain in Scotland on the reverse side. This edition was also the last guinea in circulation, because the sixth edition was reserved as the Military guinea. This edition of the Guinea is unique; This coin is the only guinea in our collection. It was minted in 1793, so it is now over 230 years old. The Gold Guinea is part of Australia’s history; it was the first coin in the list of coins for use in the Australian Colonies, mentioned by Governor King of New South Wales in his Australian Proclamation speech of 1800. The George III Spade Guinea was included in the Limited Edition Sherwood 12 Coin Collection of Notable Coinage of Australia. This coin is the only known guinea coin recovered from the wreck of the Loch Ard. It was already 85 years old when the ship was wrecked.Gold coin; British. 1793, King George III of the United Kingdom of Great Britain and Ireland (1760-1820), Spade Guinea. Yellow gold coin with gold metal loop mount and a gold ring through the loop. The design is the fifth issue of the George III Gold Guinea. The obverse relief is a portrait of George III facing right. Reverse relief is a crown above the Coats of Arms (1801-1816) of flat top spade-shaped shield divided into four quadrants that depict crowned lions, fleur de lies, a harp. These images are identified as, from left to right, top to bottom, England and Scotland, France, Ireland and Hanover. Inscriptions are minted around the rims of each side. The coin is dated 1793. Its surface has dark areas on both sides and the reed edge and surfaces are well worn. The loop mount is bent and the ring is buckled. The coin was recovered from the wreck of the ship Loch Ard.Obverse text; 'GEORGIVS III DEI GRATIA' (translates to George the Third, by the Grace of God) Obverse relief; (King George III bust, facing right, laurel wreath on head) Reverse text; 'M.B.E.ET.H.REX.F. D.B.ET.L.D. S.R.I.A.T.ET.E' '1793' (translates to: King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Lüneburg, Arch-Treasurer and Elector of the Holy Roman Empire) Reverse relief; a spade-shaped image i.e. (Crown with fleer de lies, above Shield with crowned lions in different postures, a harp, and other details)flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, royal mint, british coin, currency, guinea, military guinea, australian currency, british guinea, gold coin, spade guinea, king george iii, george iii, fifth portrait, arms of england and scotland, arms of france, arms of ireland, arms of the house of hanover, coins, gold coins, gold medallion, georgian era, 1793, numismatics, contamination phenomena, gold corrosion, good luck, lucky charm, pendant, lucky coin, trade, loch ard, wreck of the loch ard, 1878, mutton bird island, peterborough, scuba diver, 1980s, guinea coin, gold guinea, shipwreck artefact, relic, julie wilkins