Newspaper cutting announcing a one man performance of Macbeth at the Bendigo Town Hall by Alexander Watson. Date unknown. Cutting is probably from the Bendigo Advertiser.entertainment, theatre, one man show, alexander watson, town hall, macbeth, one man show

No program available therefore the article gives details of the show held at Athenaeum Theatre Large Newspaper article fifteen rounds with gorgeous george, melbourne theatre company, tim robertson

SoftcoverFlyer of 'Rodney Pople: First One Man Show in Melbourne"national gallery of victoria, painting, sidney nolan, richard haese, jan minchin , walsh st library

The one-man show was presented by Glenn Elston, Greg Hocking and Tim Woods starring Tom Barlow's one-man show.The performance was part of the Melbourne Fringe Festival for 1990.black ,pink and white coloured program in good conditionmy army, program, theatre de complicite, melbourne fringe festival, tim barlow, athenaeum theatre two

Set of four drawings of electrical and brake equipment on VR Tramcars. .1 - No. 1 - Bogie car wiring diagram - shows all equipment including lights, compressors, motors and switches. Has a different lighting circuit for the 52 to 54. 4 copies held. .2 - No. 2 - Air and Brake Equipment (Excluding one-man car) - shows all equipment including wipers, conductor's brake valve .3 - No. 3 - Pneumatic Equipment for One-man car - shows all equipment including door engines, emergency valves, emergency reservoirs, door valves and links to controller. .4 - No. 4 - Pneumatic Door Equipment - cars 52 to 54 - including door controller valve positions.trams, tramways, vr class tramcars, victorian railways, brakes, wiring diagrams, one man trams, air compressors

Isabel Huntington was a painter, craft officer and craft worker. She studied at Ballarat High School, Ballarat Technical Art School (a division of the School of Mines) and RMIT, and was a member of the Victorian Artists' Society and the Contemporary Art Society. In 1945 she was appointed Director of Handcrafts for the Victorian Division of the Red Cross Society. Isabel Huntington had previously held the position of Supervisor of Handcrafts at Heidelberg Military Hospital for three and a half years. She was a member of the Arts and Crafts Society. Isabel Huntington had five 'one-man" shows, three in Melbourne, one in Ballarat and one in Hamilton, Victoria. Ursula Hoff (from the National Gallery Victoria) judged the 1965 Albury awards for watercolour, and religious paintings in oils, awarding the prize to Isabel Huntington. In the same year Isabel Huntington travelled to Europe. After returning from overseas she taught at Rosanna High School, Victoria. Isabel Huntington lived at Montmorency, Victoria, and was there at the time of her death. Born Isabel McCausland, she married Robert Huntington in 1931. women of note, isabel huntington, ballarat school of mines, ballarat high school, ballarat technical art school, royal melbourne institute of technology, rmit, victorian division of red cross, director of handcrafts, rosanna high school, montmorency, heidelberg military hospital, supervisor of handcrafts, art shows, melbourne, ballarat, hamilton, mccausland, robert huntington

Jim Parkin owned the butcher shop in Main Street for may years. The vehicle in this photograph is believed to be an Earl from the 1920s.One of 4 photographs, reprinted on a single sheet of photographic paper, of Jim Parkin's Butchers Shop & vehicles. Individual photos are identified on the back of the image. This one shows a man wearing a striped butcher's apron standing in front of a vehicle.Written on back of image: "Jim Parkin's Earl. 7/5/1941"parkin family, jim parkin, butchers, earl cars, automobiles

Isabel HUNTINGTON (1905 - 04 December 1971) Isabel McCausland was educated at Ballarat and married Robert Keith Huntington in 1931, and which time Isabel was living in the Melbourne suburb of Preston. Isabel Huntington was a painter, craft officer and craft worker. She studied at Ballarat High School, Ballarat Technical Art School (a division of the School of Mines) and RMIT, and was a member of the Victorian Artists' Society and the Contemporary Art Society. In 1945 she was appointed Director of Handcrafts for the Victorian Division of the Red Cross Society. Isabel Huntington had previously held the position of Supervisor of Handcrafts at Heidelberg Military Hospital for three and a half years. She was a member or the Arts and Crafts Society. Isabel Huntington had five 'one-man" shows, three in Melbourne, one in Ballarat and one in Hamilton, Victoria. The critics of the day described Isobel Huntington's work as Post Impressionist and Expressionist. 'Her enjoyment of the use of colour and her sense of vitality is obvious in her most original conception of the relationship of art to flowers.' Ursula Hoff judged the 1965 Albury awards for watercolour, and religious paintings in oils, awarding the prize to Isabel Huntington. In the same year Isabel Huntington travelled to Europe. In Ballarat's Crouch Prize Isabel Huntington was commended three times. After returning from overseas she taught at Rosanna High School, Victoria. Isabel Huntington lived at Montmorency, Victoria, and was there at the time of her death. Her studio was located at 10 Nokes Court, Montmorency, 3094. 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 in 1971.Framed painting of a sunflower. The signature at the lower right has been oversigned in white 'Huntington 1962". A note on the back of the work suggests it was more like to have been created in 1956, and it was first purchased between 1956 and 1958. If you can share information on this artist or artwork please use the email link below.A note on the back says "Sunflower 1962 Oil/Pastel Insurance Isobel Huntington Gouache 1956 Black Box. Huntingdon (sic) Isobel. Acquired between 1956 - 1958"art, artwork, gouache, painting, sunflower, isabel huntington, handcraft, arts and crafts society, crouch prize, ursula hoff, alumni, flora, ballarat teachers' college art collection, isobel huntington, isabel mccausland

The photographs relate to a Bendigo RSL Sub Branch Annual Dinner. It is not quite clear what year(s) but 1998 or later. Bruce Ruxton President Victorian RSL was Guest speaker over many years.Alan Holmes was Senior Vice President in 1995, President 1997 - 2001 .1) Photo L - R, Phil Chapman OC 15 Transport Sqd, unknown, Bruce Ruxton, unknown, Alan Holmes. .2) Photo L - R, unknown, Alan Holmes, vacant seat, Maurice Sharkey Bendigo City Council, Hugh Connelly Kangaroo Flat RSL. .3) Photo L - R, Bruce Ruxton standing, Alan Holmes, Bert Pollard Eaglehawk RSL, unknown, Maurice Sharkey Bendigo City Council.Three colour photographs re the head table at a Bendigo RSL Annual Dinner. .1) Shows 5 men seated at the head table. .2) Shows 4 men seated at the head table, one chair vacant. .3) Shows one man standing and 4 seated at the head table.brsl, smirsl, annual, dinner

Bendigo RSL Sub Branch Show Stall fund raiser. .1) Photo, the man on the left is Jack Plant, centre is unknown, man on the right is believed to be Norm Smart. .2) Photo, On the left Norm Smart, unknown, Jack Barnes, unknown. .4) Photo, the man is unknown. Refer Cat No 8129P for Jack Plant. Refer Cat No 8040 for Jack Barnes Refer Cat No 8120.2P for Norm Smart.Four photographs colour square shape re the Bendigo RSL Sub Branch. .1) Shows the RSL sign, numbers and Lucky envelopes being "10 Cents" .2) Shows 3 men behind the counter and one outside with white waist bag on. .3) Shows the prizes in racks. .4) Shows one man behind the counter."Bendigo RSL Sub Branch", "Lucky Envelope 10c"brsl, smirsl, show stall

Built by noted artist Theodore Penleigh Boyd, father of architect Robin Boyd. Covered under National Estate, National Trust of Australia (Victoria) Local Significance and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p111 The Robins at Warrandyte,* was once home to a member of a famous family and is also one of the first reinforced concrete houses in Victoria. The builder, Theodore Penleigh Boyd, born in 1890, was a talented painter1 noted for his works of the Warrandyte bush. He was the father of architect Robin Boyd, author of the Australian Ugliness and the uncle of painter, Arthur Boyd. Penleigh Boyd’s great grandfather was Sir William A’Beckett, Victoria’s first Chief Justice. Penleigh Boyd is considered by some to be an ‘unsung hero’ overshadowed by more famous members of his family. Mornington Gallery Director Andrea May said many believed Boyd ‘had never received the national acclaim that he deserved’.2 Classified by the National Trust3 and part of the Australian National Heritage,4 The Robins is set well back near the end of Kangaroo Ground – Warrandyte Road, unobserved by passers-by. Built in 1913, The Robins has some Art Nouveau influences and is a descendant of the Queen Anne style. It is covered in stucco and has a prominent attic, which Boyd used as a studio. Some parts of the house are up to 33 centimetres thick and built in part with pisé (rammed earth) and in part with reinforced concrete. Amazingly, Boyd built The Robins without an accessible driveway, and only a narrow track along which he had to cart building materials. The journey was uphill and Boyd terraced the land with Warrandyte rock5 without the aid of machinery. At only 33 years, Boyd was killed in a car accident in 1923. He was buried in Brighton near the home of his parents. Several people have since owned the house, including political journalist, Owen Webster. Boyd was born at Penleigh House, Wiltshire, and studied at Haileybury College, Melbourne and The Hutchins School, Hobart. He attended the Melbourne National Gallery School and in his final year exhibited at the Victorian Artists’ Society. He arrived in London in 1911 and his painting Springtime was hung at the Royal Academy. He painted in several studios in England and then worked in Paris.6 There he met painter Phillips Fox through whom he met artists of the French modern school and also his wife-to-be, Edith Anderson, whom he married in Paris in 1912. After touring France and Italy, the couple returned to Melbourne. In 1913 Boyd held an exhibition and won second prize in the Federal Capital site competition, then the Wynne Prize for landscape in 1914. In 1915 Boyd joined the Australian Imperial Force, and became a sergeant in the Electrical and Mechanical Mining Company. However he was severely gassed at Ypres and invalided to England. In 1918 in London Boyd published Salvage, writing the text and illustrating it with 20 black-and-white ink-sketches of army scenes. Later that year he returned to Melbourne, and, despite suffering from the effects of gas, he held several successful one-man shows, quickly selling his water-colour and oil paintings. In his short career Penleigh Boyd was recognized as one of Australia’s finest landscape painters. He loved colour, having been influenced early by Turner and McCubbin. His works are in all Australian state galleries, the National Collection in Canberra as well as in regional galleries.7 His wife Edith was also an artist having studied at the Slade School, London, and in Paris with Phillips Fox. After her marriage she continued to paint and excelled in drawing. In later years she wrote several dramas, staged by repertory companies, and radio plays for the Australian Broadcasting Commission, in which she took part. She was the model for the beautiful red-haired woman in several of Phillips Fox’s paintings and the family hold three of his portraits of her. *Possibly named after the Aboriginal words warran, meaning ‘object’ and dyte, meaning ‘thrown at’.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, kangaroo ground-warrandyte road, north warrandyte, the robins

This image shows six older Chinese men standing in a row with two younger non-Chinese men outside a small wooden business or official building in the Beechworth region, circa 1900. The two non-Chinese men are wearing clothes of the period that indicate relative prosperity (such as three piece suits, top hats, and a pocket handkerchief), whereas most of the Chinese men are wearing Western-style working clothes of the era. One Chinese man at the far right of the image is wearing similar garments to the non-Chinese men, including a bowler hat and longer, more tailored suit jacket. Chinese miners were a significant cultural group in Beechworth's gold rush period. Carole Woods' history of Beechworth, 'A Titan's Field', details that there were approximately 60 Chinese people in the area in 1855, more than 1000 in 1856 and 4700 (a quarter of the population) in 1857, despite the introduction in 1855 of official policies such as additional taxes formulated by the Victorian Government to limit access by Chinese immigrants. Most Chinese miners in the region came from southern China and had formerly worked as merchants, mechanics, farmers and shop-keepers. Chinese people were subjected to a 'protectorate' system, ostensibly to minimise the potential for conflict with other groups; this system required Chinese people to live in designated 'hygienic' camps with paid Chinese headmen who supervised the village and enforced the protectorate's rules. Chinese people were required to purchase an annual protection ticket to fund this system. The protectorate system was abolished in 1861, before this image was taken in approximately 1900, but it may still provide insight into social stratification or relationships between and within cultural groups in Beechworth resulting from such practices. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's cultural and social relationships in the early Twentieth Century, in particular the experiences of Chinese miners. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, chinese, chinese miners, protectorate system, protection licence, immigration, racism, classism, social groups, cultural groups, taxes, hygiene camps

It is believed that the photograph on the obverse side of the postcard was taken in 1918. Depicted are ten Australian male soldiers. Their names are transcribed in pencil on the reverse side of the postcard. Each soldier is dressed in a formal military uniform. It is believed that these soldiers were part of The Australian Imperial Force during World War I. This can be inferred by the chevron rank insignia visible on the uniforms of nine of ten men. The placement of this insignia on the sleeves of their right arms suggests that they were either Warrant Officers or Non-Commissioned Officers (NCO). Specifically, the number of chevron stripes - here, nine men have three - are believed to signify a Corporal rank. The men pictured on this postcard are also wearing 'Rising Sun' collar badges on their coats. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force. Another characteristic of the Australian Imperial Force uniform are the rectangular colour patches worn by all men on this postcard. In March 1915, a new scheme of unit identification was devised to replace the wearing of unit titles. This consisted of cloth colour patches on the upper arms of a soldier’s tunic. The black and white nature of the record means that we cannot establish which battalion these soldiers were part of. However, one of the handwritten signatures on the reverse side of the postcard reads "W.A. Griggs". This was the signature of Sergeant William Archibald Griggs. Further research shows that Griggs was part of the 5th Australian Division Signals Company. Therefore, it is believed these soldiers were part of the ANZAC Signal Companies. The main role of the Signal Companies during World War I was the laying and maintenance of telephone cables and switchboards, used to connect various units in their area. Furthermore, the man standing in the back row, third from the left side, has an Overseas Service chevron patch on his coat. In January 1918, the Australian Imperial Force approved the wearing of the overseas service chevrons which had been adopted by the British Army. These were embroidered or woven inverted chevrons worn above the cuff on the right arm. Due to a shortage of supply, some men had chevrons privately made. For each year of war service, a blue chevron was awarded, and those men who had embarked in 1914 received a red chevron to indicate that year’s service; however, the black and white nature of the postcard makes it difficult to determine what colours are on this man's patch.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Black and white rectangular postcard printed on paper.Obverse: Oh 'Serg!' / Reverse: CARTE POSTALE / 6537 / Correspondance / Adresse / w.a. Grigg / J. Fain / Ruckling / R.J Farrar / (?) / Clarke / L (?) / GFFisher / R. M. Forrest / With Compliments / Sgt's Mess / November 1918 /military album, army, aif, uniform, military, wwi, world war i, rising sun badge, william archibald griggs, anzac, signal companies, postcard, patches, chevron

The Mural is a picture in wool of the origin of the Ballan district and is made of pure wool donated by local growers.The centre panel is a reproduction of a sketch by Emma von Stieglitz in 1852 of the Ballan General Store. The ram's heads symbolise the importance of wool to the area and the circular shapes the transport of the day. Mrs Grace Slocombe designed the Mural, fifty-three local craftswomen (and one man) began the work in November 1981, and the finished work was exhibited at the 1982 Ballan Arcadian Arts Festival. The Mural was also exhibited at the 1982 Royal Melbourne Show then went on a tour of of various country areas in Victoria. It now hangs in the Ballan Old Courthouse.The Mural is significant to the local area.A text document on the story of the Wool Mural made for the Ballan Arcadian Festival in 1982.ballan art and craft society, grace slocombe, kathy diamond, enid swan, jessie mclean, joyce strickland, margaret young, cynthia ranken, dorie young, wool, wool mural

Presentation of Life Membership to William James Norman Smart (Norm) at the Bendigo RSL Sub Branch Annual Dinner in 1998. Norm served on the Committee of the Sub Branch from 1985 to 2003, he was Treasurer from 1989 to 2003. He also served on the Welfare and Charitable Sub Committee, as a delegate to the 27/27A District Board of the RSL, an Office Bearer of the RSL Flats in Kangaroo Flat from 1987 to 2002, as a museum guide in the RSL Museum SMI from 1998 to 2015. With Appeals Norm raised some $250,000.00 in the Anzac & Poppy Appeals. The men seated are Bert Pollard, Harold Trahair Eaglehawk RSL, Ivan Hutchison, Hugh Connolly Kangaroo Flat RSL.Two photographs colour an award being presented. .1) Shows a man in a suit and tie, microphone in one hand and a certificate n the other. .2) Shows same man standing n front of a table with men seated. Text in red pen on rear off.“Presentation N. Smart Life Membership Annual Dinner”brsl, smirsl, life memberrship, 1998

The photos are the presentation by Alan Holmes President of Bendigo RSL to Cliff Clohesy in February 1997. Clifford Clohesy served on the Committee Bendigo RSL 1989 to 1991, 1993 to 1996, he was President the years 1993 to 1996. Cliff was a hard worker in the two RSL Appeals each year. One of his achievements was the building of 22 Single person units in Kangaroo Flat finished in 1997. Alan William Holmes served on the Committee 1993 to 2001. He was President the years 1997 to 2001. Two of the later years was the change over from Bendigo RSL to Bendigo District RSL Sub Branch Inc. He was the Organizer of events for the "Australia Remembers" 50 years after the end of WW2 in Bendigo. It was Alans proposal to turn the SMI into a Museum in 1996 with the first Museum Sub Committee being formed in May 1997 and the opening in February 1998. Now the Bendigo Military Museum. He stayed heavily involved until 2003. He was the organizer and conducted the Sandakan Memorial Service from 1999 to 2012. From there as much as possible Alan visited veterans in Nursing homes and a Wing of "BUPA" was named "Holmes Wing". In 2003 Alan was awarded a "Centenary Medal for his Voluntary Service to Veterans.Two colour photographs. .1) Shows two men standing, one has a certificate in his hand. .2) Shows the other man with the Certificate he has been awarded.brsl, smirsl, certificate, state

The photographs relate to entertainment held at a Bendigo RSL Sub Branch Annual Dinner at the Soldiers Memorial Institute building Main Hall. The year is not known exactly but it is between 1997 - 1999. The man in the "Bombay Bloomers" (shorts) is Jacky Paynting.The three photos show two men on a stage in a building with a white Cross behind them and a piano on the right. An Australian flag is over head. One man has a guitar and slouch hat on. The other has a pair of Army "Bombay Bloomer shorts on and Army shirt and slouch hat.brsl, smirsl, annual, dinner

This is number 16 of 27 items in the Daisy Vickers collection of World War One memorabilia. These items were sent or given to Daisy Ogier (nee Vickers) during World War One by Corporal Arthur Anderson who enlisted from Warrnambool in 1915 at the age of 21. He served in Egypt and France and returned to Australia in 1919. Daisy Ogier (1907-1987) was a student and then a teacher at Warrnambool Technical School with her early teaching years there from 1925 to 1936 and in 1949. She became the head mistress from 1950 to 1963 and in 1968. She officially retired in 1976. Daisy Vickers was one of the best loved and dedicated teachers that the school ever had. She married the Reverend Fred Ogier and continued her association with the school after her husband's death.This card is interesting because of its association with World War One and two local people Daisy Vickers and Arthur AndersonThis postcard shows a photograph of a soldier carrying another soldier under fire. A Gallant Rescue Under Fire. This man saved twenty lives like this. Office photograph Crown Copyright Reserved "Daily Mail" Miss Daisy Vickers Bushfield Post Office Victoria Aus.daisy vickers, arthur anderson, warrnambool technical school, world war 1 postcard

This is number 17 of 27 items in the Daisy Vickers collection of World War One memorabilia. These items were sent or given to Daisy Ogier (nee Vickers) during World War One by Corporal Arthur Anderson who enlisted from Warrnambool in 1915 at the age of 21. He served in Egypt and France and returned to Australia in 1919. Daisy Ogier (1907-1987) was a student and then a teacher at Warrnambool Technical School with her early teaching years there from 1925 to 1936 and in 1949. She became the head mistress from 1950 to 1963 and in 1968. She officially retired in 1976. Daisy Vickers was one of the best loved and dedicated teachers that the school ever had. She married the Reverend Fred Ogier and continued her association with the school after her husband's deathThis card is interesting because of its association with World War One and two local people Daisy Vickers and Arthur AndersonThis coloured postcard features a man looking into an empty bottle held against his eye. There is a grey and white cat wearing a bow in the foreground and black and blue printing. The reverse has hand written ink writing and space for a stamp.My Landlady's Cat wears a Blue Ribbon but I don't believe it's a Teetotaller !!. Il me semble qu'on y a mis un doigt France Jan 26th Dear Daisy I received your letter dated 6th Nov saying you had been to the show what are you learning to play on the piano Arthur daisy vickers, arthur anderson, warrnambool technical school, world war 1 postcard

Matches and match boxes were common and essential household items in the 19th century and early to mid 20th century. Today matches are used only irregularly. This match box holder was an advertising tool for Roy Pearson who had a motor service station at 100 Kepler Street, Warrnambool in the 1930s. The business was called the Super Service Station and Pearson was the agent for Triumph and Citroen cars. He sold petrol and used cars and did car repairs. In 1937 the business was run by Chorlton and GrahamThis item is of considerable interest showing the type of advertising used in Warrnambool in 1935. Apart from its utilitarian use of holding a match box, it is an advertising tool containing a 1935 calendar and it also uses humour as its main appeal. The holder features a face which shows a happy man when held one way (“This man calls at Pearson’s Service Station for satisfaction’) and a grumpy man when it is turned around (‘This man wishes he did call’). This is a metal match box holder, painted blue with yellow printing and an image of a man’s face. It has a 1935 calendar. It is much rusted on the inside and a little blotched on the outside. ‘Roy H. Pearson, Super Service Station, Ye Auto Fille Here, Phone 511, 100 Kepler Street, Warrnambool. This man calls at Pearson’s Service Station for satisfaction, This man wishes he did call’ pearson service station, warrnambool, match box holder

The P.S Rodney was used by Permewan Wright to transport non Union strike breaking shearers to the Darling River sheep stations during the late 19th Century. The Union shearers who were on strike, burnt it to the water line where it remains still.This photograph is very significant as it was one of the events in the Australia wide Shearers strike of 1891-1894. When Unionised Shearers burnt the P.S Rodney while carrying non Union Shearers to the Darling River sheep stations.A rectangular black and white photograph and negative of the remains of the P.S Rodney by the bank of the Darling River, near Pooncarrie N.S.W. Shows the "skeleton" remains. A man stands in the background.Stamped on the back in black ink is 'J176'. In hand writing in black ink are the words " Remains of Rodney."p.s rodney, shearers' strike, pooncarrie n.s.w

This photograph was taken in February 1984 on the occasion of Cossen's visit to Echuca. P.S Pevensey with the name Philadelphia written across the wheelhouse can be seen steaming upstream under the bridge. This is significant because the P.S Pevensey played the role of the P. S Philadelphia in the movie "All The Rivers Run" which was filmed in Echuca in late 1982 and a sequel was filmed in Echuca early in 1989. Councillor Bob Snow can also be seen on the side deck. This is significant as the Cossen's visit to Echuca may have warranted this sort of attention The photograph also shows the state of the Echuca Moama bridge in the early 1980's.This photograph is significant because it shows the P.S. Pevensey showing the name P.S Philadelphia. The P.S Pevensey was used as the P.S Philadelphia in the TV Series "All The Rivers Run" based on the novel written by Nancy Cato. The TV series was filmed in Echuca in 1982. The TV series was a huge success and still draws tourists to the Port of Echuca. The fact that the P.S Pevensey was showing the Philadelphia name in 1984 is a bit of a mystery, but it has been known that she was dressed up again as the P.S Philadelphia sometimes for special occasions. The Cossen's visit to Echuca might have been such an occasion. It is also a good picture of the pylons under the Echuca Moama bridge and the actual bridge itself. The P.S Pevensey travelling upstream under the Echuca Moama bridge. There is a group of people on the lower side deck. People can also be seen in the wheelhouse and there is a man standing on the back deck as well as one standing next to the wheelhouse. The name Philadelphia can be seen written across the front of the wheelhouse. The river is low and shows the waterline at the Moama Beach. Four bridge pylons can be seen as well as the bridge itself.greenspot photography, p.s pevensey, murray river, echuca, la grue, bill, cossen's visit to echuca., all the rivers run, p. s philadelphia, echuca moama bridge, cossen family, cato, nancy

Famous Swiss landcape painter Louis Buvelot came to Melbourne in 1864 and set up a portrait photography studio which he operated for one year only in 1865. This photograph is believed to be the oldest photo in the Shillinglaw Family Album collection. It is believed that the subject is a young Phillip Shillinglaw, without beard, at age 22 or 23. Phillip Shillinglaw was born Melbourne, August 7, 1842. He married Sarah Ann Kidd in Heidelberg, Victoria, February 28, 1872. In 1881 Phillip and Sarah and their small family moved to Eltham and made home in what was later to become known as Shillinglaw Cottage but which Phillip named 'Wattle Brae'. Shillinglaw Cottage is significant to Eltham’s local history. It is one of the earliest known buildings still in existence. Records suggest that the cottage was built circa 1859 by a man named Cochrane, believed to be Thomas Cochrane, in conjunction with George Stebbings though it is not known what Stebbings’s contribution was. It is believed Stebbings owned the cottage between 1874 and 1888. According to Margaret Ball’s (2017) book Shillinglaw Family of Eltham 1660-2007, Thomas Cochrane and family lived there from 1867 to 1874 however this is contrary to the records of assessable rates levied by the Eltham District Road Board, established in 1858, which shows Cochrane was the owner occupier (in Little Eltham) of approximately 25 acres of cultivated land and 25 acres of pastureland upon which a hut was sited in 1860. It is suspected that George Stebbings may have acquired the property from Cochrane in 1874 as it is noted that he had a tenant for a period, James Rossiter, who was the editor for the Evelyn Observer in Kangaroo Ground in 1874 (LATE SHIRE OFFICE AT KANGAROO GROUND (1934, February 16). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 5. Retrieved February 25, 2022, from http://nla.gov.au/nla.news-article56743657). In 1881 Phillip Shillinglaw became the ratepayer for the cottage though Stebbings retained ownership until 1888 at which time it was transferred to Shillinglaw. Photographer: Louis Buvelot Swiss landscape painter and portrait photographer, settled in Melbourne in 1864, admired by the artists from the Heidelberg area such as Tom Roberts and Arthur Streeton who bestowed him with the accolade of 'Father of Australian painting’. In the 1870s, his work increasingly drew elements from Australian landscape such as the bush land in works like Lilydale (1878) and Bush Track. "Louis Buvelot :: biography at :: at Design and Art Australia Online." Daao https://www.daao.org.au/bio/louis-buvelot/biography/. Accessed 9 Mar. 2023. On arriving in Melbourne in February 1865 Buvelot bought a photographer's studio at 92 Bourke Street East and took portraits for a year. In 1866 he moved to 88 La Trobe Street East and resumed his painting while Caroline-Julie gave French lessons to help Buvelot to establish himself as an artist in Melbourne. "Biography - Abram-Louis Buvelot." Australian Dictionary of Biography https://adb.anu.edu.au/biography/buvelot-abramlouis-3132. Accessed 2 Dec. 2022. CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 1, 1865, l. buvelot photographer, louis buvelot, phillip shillinglaw (1842-1914), unknown

Photographer: Richards & Co. Portrait Parlours operated from 19 Sturt Street, Ballarat from 1881-1921 but with "Under Royal Patronage" appears to be 1881-1885. Phillip Shillinglaw was born Melbourne, August 7, 1842. He married Sarah Ann Kidd in Heidelberg, Victoria, February 28, 1872. In 1881 Phillip and Sarah and their small family moved to Eltham and made home in what was later to become known as Shillinglaw Cottage but which Phillip named 'Wattle Brae'. Shillinglaw Cottage is significant to Eltham’s local history. It is one of the earliest known buildings still in existence. Records suggest that the cottage was built circa 1859 by a man named Cochrane, believed to be Thomas Cochrane, in conjunction with George Stebbings though it is not known what Stebbings’s contribution was. It is believed Stebbings owned the cottage between 1874 and 1888. According to Margaret Ball’s (2017) book Shillinglaw Family of Eltham 1660-2007, Thomas Cochrane and family lived there from 1867 to 1874 however this is contrary to the records of assessable rates levied by the Eltham District Road Board, established in 1858, which shows Cochrane was the owner occupier (in Little Eltham) of approximately 25 acres of cultivated land and 25 acres of pastureland upon which a hut was sited in 1860. It is suspected that George Stebbings may have acquired the property from Cochrane in 1874 as it is noted that he had a tenant for a period, James Rossiter, who was the editor for the Evelyn Observer in Kangaroo Ground in 1874 (LATE SHIRE OFFICE AT KANGAROO GROUND (1934, February 16). Advertiser (Hurstbridge, Vic. : 1922 - 1939), p. 5. Retrieved February 25, 2022, from http://nla.gov.au/nla.news-article56743657). In 1881 Phillip Shillinglaw became the ratepayer for the cottage though Stebbings retained ownership until 1888 at which time it was transferred to Shillinglaw. CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 1, phillip shillinglaw (1842-1914), 1881-1885, 1885, richards & co. photographers 19 sturt st ballarat

This file contains eight items: 1/A one page typed summary of the history of the London Tavern by (noted in pencil) author J O'Donnell. Includes information on the licensees of the hotel from 1873-1927 (in duplicate) 2/Photocopy of black and white photo of London Tavern c. 1878. Shows sign 'J. Riordan, London Tavern and Store'. Shows Boot and Shoe Repair shop at end and two women outside and horse and buggy on road. 3/Photocopy of black and white photograph entitled 'London Tavern 1935' with handwritten note on reverse by unknown author identifying Mrs. A.C. Scott as Nominee 1929-1969 and identifying a man in the photograph as John Chas (Jack) Scott on left. Car parked at curb. Original print held in album 'Historical Caulfield to 1972'. 4/Half page written note listing the names of Nominees of the London Tavern from 1873-1895. Author unknown; undated. 5/'now&then' article on London Tavern showing three photos (from our files) and brief history. Melbourne Weekly Bayside 22/02/2012. 6/Black and white photograph of London Tavern, established 1886, currently 414 Hawthorn Road. Foreground includes a large crowd with bicycles noted by an unattributed source to be members of Camden Town Sports Club after a bicycle race c.1888. 7/Handwritten note showing John Guess as the proprietor of the London Tavern in 1867 and 1874. Noet is undated and author unknown. 8/Black and white photograph of the London Tavern with a 1970s style car parked in Sycamore Street. Date and photographer unknownhawthorn road, caulfield, london tavern, woods a.j., camden town sports club, gribble c., hotels, sporting clubs, scott a.c., guess john, guess louisa, evans rowland, riordan john, scott mrs., boot and shoe repair shop, vine beer house, balaclava road, hawthorn road, sycamore street, caulfield south, elsternwick, harley susan, mott h, nichols william h, o'donnell j, rosstown hotel, caulfield club hotel, grocer

This is a photograph of Jim McIntyre who served in WWI. Sepia toned photograph mounted on a piece of cardboard. The image shows a man wearing a military uniform with the Australian Rising Sun on the collar.wwi, world war one

During an xray demonstration on 23 July 1896 "Seven patients of the doctors who were present were treated. In each case the patient was suffering from the effects of an old wound or some other injury to other a hand or foot. One patient, a boy had a finger broken some years earlier and when xray plate of the injury was developed it indicated plainly the fracture on one of the joints of the third finger. In another case a woman had a foot had a foot X-rayed and the photograph revealed the seat of an earlier imjury to it. Likewise an injury to the bones of a hand of an elderly man was revealed by an x-ray photograph. Every X-ray photograph that evening showed the importance of this new development in electrical science and the doctors present agreed the "the results of the experiments on their patients, by showing the exact seat of the injury and its present condittion, would materially assist them iin supporting cures." (Warren Perry, The Ballarat School of Mines and Industries Ballarat, p 146.)Pioneer xray of a handx-ray, hand, pioneer xray, xray demonstration, bones

A colour photograph of a chainsaw sculpture situated in a chainsaw sculpture garden in Marysville in Victoria.A colour photograph of a chainsaw sculpture situated in a chainsaw sculpture garden in Marysville in Victoria. The sculpture was created by a local resident, Harley Morgan, as an attraction for visitors to Marysville.chainsaw sculpture, marysville, victoria, photograph, harley morgan

As noted under "Inscriptions)A4 photocopy of 2 portraits. One of Flora Miller and one of Catherine Walker (nee Kitty Miller) and familyFlora Miller (nee McInnis) wife of Robert Miller, early settler. In 1868 Robert Miller selected block number 21 Watts Road, Ventnor, next to Quoin Hill and the family lived there. Catherine Walker (nee Kitty Miller) photographed with three of her children around 1888. (The identity of the man and the youngest child in this photograph are unknown). Records show that Catherine's husband, James Walker, died in 1885. Her youngest child was her daughter, Flora, on left in photo.flora miller (nee mcinnis), catherine walker (nee kitty miller), robert miller, james walker, lynette carr