This file contains 3 items about this property: 1/Print of photo of 39 Park Street, Elsternwick from State Library of Victoria website, more likely to be c1880 than c1903 given clothing of woman and 2 children depicted. 2/Print of email with black and white photo of house dated 16/04/2013 included. Handwritten note 'Property demolished 8 July 2013' also has been added. Likely attachments printed of 2 colour photos of same property date marked 16/04/2013. 3/Photocopy of 1913 Sands and McDougall's Directory page 224 showing likely entry for this property.park street, elsternwick, ferguson geo c, attrill edwin, glenwright j, timber houses, verandahs

One of a series of photographs taken of the Buninyong Gold King Festival 1985Colour photograph Gold King Festival 1985, de Soza park, street fair, south side Learmonth, National Bank, old Adams Store, butchers shop visible, stands in front of buildings on the right. buninyong, gold king festival, festival events, street fair, learmonth st., national bank building, adams store, whykes butcher shop

Photograph of Park Street Elsternwick 27 May 1900elsternwick, park street

‘Adeney Avenue’ was the title given to this painting following its donation to the Kew Historical Society, yet the work’s origins predate the naming of Adeney Avenue in 1907 [originally gazetted as ‘Park Street’ (1865) and ‘Park Street South’ (1875).] Park Street ran between High Street and Parkhill Road beside what was later to become ‘Victoria Park’. This area was described in 1851 as “…a dense forest of gums and wattles which were to be largely cleared by 1888 after the naming of a recreation reserve”. The Reserve was still bisected by an unnamed creek in 1896, when the area was surveyed by the MMBW. The panoramic vista selected by the artist would appear to include ‘Eborensis’ (c.1895) on the corner of Parkhill Road and what was then Park Street, with views across cleared land towards the distant ranges. In the 19th century, north Kew was largely undeveloped farms stretching down to the Yarra. Oil on canvas by an unidentified artist of a panoramic view depicting what is now known as East Kew with mountains on the horizon. In the foreground is a two storey brick residence - Eborensis - located on the northeast corner of Parkhill Road and what is now Adeney Avenue. The view of the landscape and its rolling hills resulted from farming practices adopted following colonisation and settlement. Trees in the foreground and in the distance include remnant Eucalypts and introduced exotics.Label on rear of frame states "House on corner of Adeney Ave & Parkhill. [Regd. 254"]. Otherwise unsigned and undatedadeney avenue (kew), eborensis, park street (kew)

These photographs, taken by The Advocate in 1999, show the machinery inside the Sunshine Energy Park Turbine House on Hulett Street in Albion. The Sunshine Energy Park (SEP) was a Council / Private adventure into using the methane gas stored in the former Albion Quarry to heat the boilers to turn the generators to generate electricity. This adventure failed as the qualities of methane gas was insufficient which led to a long protracted legal battle between the Council and its Consultants. This redevelopment proposed is to turn the vacant site into a major parkland including large scale tree planting, a possible solar farm, cycling & walking tracks, sports fields & stadiums, play spaces, a large urban forest & wetlands systems and more.These images provide a rare glimpse into the internal machinery housed within the Sunshine Energy Park turbine room.Energy Park Sunshine 1978sunshine energy park, hulett street, albion

Wedding photograph of William John Seymour THOMPSON to Agnes Helen TELFERFrom collection of Emma NIGHTINGALE. Agnes's father Joseph was an orchardist in Vermont. These THOMPSONS not related to Emma Nightingale. Bridesmaid - Sophie THOMPSON (sister to William) Groomsman - Robert Charles VALEB/W Photograph on dark brown card of wedding partyMakers Mark: E Strawbridge, 129 Park Street, Parkville. Inscription on back: To Mrs Nightingale with compliments from Mr. & Mrs. W. Thompson April 1909thompson, nightingale, telfer, vale

'After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view.' (Margaret Picken, 2020)This property illustration is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c. 1983 and c. 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020pen and ink architectural drawing on drafting film.17 PARK ST, HAWTHORN Margaret Picken `99 WOODARDS -HAWartist - margaret picken 1950-

'After training as a Cartographic Draftsman within the mining industry, I worked as a property illustrator for real estate firms in the eastern suburbs of Melbourne for 23 years from 1983. I initially photographed houses with a Polaroid camera and made a 'thumbnail' sketch while there. The photos were used to scale off a sketch in pencil and then that sketch was overlaid with drafting film and the 'pen and ink' completed. The pens I used were the Rotring ‘Rapidigraph’ drafting pens. The ink was also made by Rotring (German).The film was ‘Rapidraw’, polyester drafting film, double matte. It takes a very fine line and doesn’t bleed. As well as house sketches, there were often floor plans and site plans ordered. Aerial sketches were ordered when the property needed an overall view.' (Margaret Picken, 2020)This property illustration is one of a series created by Margaret Picken for a range of real estate agents in Melbourne between c. 1983 and c. 2006. Each work is signed and dated by the artist.Gift of Margaret Picken, 2020pen and ink architectural drawing on drafting film.17a PARK ST, HAWTHORN Margaret Picken ©2000 WOODARDS -HAWTHORNartist - margaret picken 1950-

Maribyrnong Valley Land Use. Brimbank Park to Canning Street Bridge. Maribyrnong Valley Land use Committee February 1992.maribyrnong valley, maribyrnong river, canning street, bridge

Photograph shows a W class tram in Bridport Street en route to 'South Melbourne' with another tram in the distance travelling to the city. The street is lined with shop verandahs and numerous motor cars. This line was converted from cable tram to electric tram in 1937 and ran long Collins Street, Spencer Street, Clarendon Street, Park Street, Montague Street, Bridport Street and Victoria Avenue. The photograph appears to be a copy of a Hugh Latimer photograph from that time.Yields information about the first years of the new electric line to South MelbourneBlack and white photograph with title below photograph but no note on rear.On front below photograph: 'Latimer Series, Bridport Street, Albert Park' w class tram, bridport street, south melbourne, shop verandahs, motor cars, montague stree, victoria avenue, hugh latimer

Contained in Volume 1 of a set of two spiral magnetic photo albums, each containing 10 leaves, 20 pages; Vol. 1 labelled "Houses - Eltham South" and Vol. 2 labelled "Eltham Houses". Newspaper clippings promoting house auctionseltham, eltham south, real estate advertisement, houses, ian reid real estate, lavender park road, porter street

Colour photograph of Car Park Sloane Street looking towards Main Street Stawell. The car park was created when Main St. Stawell became a Pedestrian Mall c 1978Large coloured photograph taken from Sloane Street, looking towards Main St. The photo has a bus on the left hand side and cars in the car park. The photo is taken in front of a garden bed with a No Entry sign in the middle of the photograph.stawell

North Park from Lamont Streetstawell sport

The Pall Mall View Street Redevelopment Committee prepared this report on behalf of the City of Greater Bendigo. The report contains a list of questions given to the City of Greater Bendigo by the Committee and the findings are presented in a table, with Title, Details and Action Taken data listed.Blue cover, six pages. On front cover: ' View Street Rosalind Park Study, Public Launch, Wednesday 5th August 1992, 8.00 p.m. Capital Theatre, View Street, Bendigo. Invitation to Cr. & Mrs. A.J. Balsillie to attend. See also Cat. No. 11540, View Street Rosalind Park Study, (finding of study).bendigo, view street, rosalind park, heritage study, cr. balsillie and mrs. balsillie, launch, city of greater bendigo

Made at Local foundry. Opened 1903sport

sport

sport

Cast iron stoves burn solid fuel such as wood or coal, and are used for cooking and warmth. The stoves have a firebox with a grate where the fuel is burned. The hot air flows through flues and baffles that heat the stove top and the oven. Before cast iron stoves were invented, cooking and heating were carried out in outdoor open fires, and later, in fireplaces inside the home. In 1642 the first cast iron stove was manufactured in Lynn, Massachusetts, where molten cast iron was poured into a sand mould to make rectangular plates that were then joined together to make a box. Benjamin Franklin invented the more efficient Pennsylvania stove in 1744, and this efficient design is still used today. After the mid-19th century cast iron stoves were produced with burners in different positions, giving varied temperatures, so a wide variety of foods could be cooked at the same time at the most suitable heat, from slow cooking to baking scones. In contemporary times people the new wood-burning stoves had to meet the anti-pollution standards now in place to protect our environment. By the 1920s gas cookers were being introduced for domestic use, and by the 1930s electric home cookers were being offered to householders. PLANET STOVES In August 1925 the firm Cox and Rizzetti, Stove Works, and also Sydney Road, South Melbourne, advertised in the Brunswick and Coburg Leader of November 11, 1925 as "formerly with Harnwell and Sons" and as "specialists in solid cast iron Planet stoves ... which merit an inspection from builders and householders". The firm continued in business and was mentioned as sponsors in the King Island News in 1971. Harnwell and Sons was listed in the Victorian Government Gazette of 1894. It is curious that the firm was mentioned in an article in the Sunrasia Daily of June 14, 1934 titled 'Planet Stoves' as a manufacturer of Planet Stoves. This Planet No 3 stove is an uncommon example of cooking equipment used in kitchens in the early 20th century, as the firebox is above the oven rather than beside it. The cast iron combustion stove is significant as part of the evolution of domestic cooking. Previously cooking was mostly carried out in outdoors in open fires, and later in fireplaces indoors. Cast iron stoves are still used today and have additional features such as thermostats to monitor and maintain temperature, water heating pipes connected, and environmentally approved anti-pollution fittings. Stove; a compact, blackened cast iron combustion cooker, installed within a fireplace and enclosed by bricks on both sides. The upright rectangular stove has a flat top with three round, removable cook plates and a flue connected at the back. The front has three doors with round knob handles; a swing-down firebox door above a sliding ashtray, and two side-hinged oven doors above a sliding opening. Inside on the side walls are two pairs of runners. Behind the pair of doors is an oven with two pairs of rails and two removable metal shelves. The stove has cast inscriptions on the chimney flue and on the front of the right hand side stove door. The model of the stove is The Planet No 3, made in Melbourne.Chimney flue, "[within rectangle] THE / PLANET" Stove door, "(within oval) PLANET / No 3"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, stove, cast iron stove, combustion stove, wood-burning stove, wood stove, wood oven, solid fuel stove, cooker, the planet, planet, planet no. 3, kitchen equipment, baking, domestic cooking, cooking equipment, food preparation, planet stove, planet cooker, cooking range, slow combustion stove, antique, range cooker, cox and rizzetti, harnwell and sons, melbourne manufacturer

Slovenians Participating at Melbourne Moomba festival in 1969 or 1970Slovenians in Slovenian national costume, Moomba festival MelbourneColour photo of Anica (Anne) Markic and Alojz (Lojze ) Markic in Slovenian national costume in front of the home of Slovenian Association Melbourneo priort o participating in a dance at Moomba festival melbourneslovenians, slovenian association melbourne

David Miller (Dave) Mair (1879-1938) married Lily Vipond Deakin (1890-1945) in 1910. They had 5 children: Geoffrey David (1913-1970), Beryl (1916-1976), Gwynneth (1917-1997), Isabel Lillian (1921-1997) and Shirley Inez (1928-1968). Personal communication from Laurie Newton, Beryl's daughter: Dave and Lily initially lived in East Melbourne after they married. Dave walked across the gardens to work at the MCG. He never drove or owned a car. Geoffrey, Beryl and Gwynneth were born in East Melbourne. They subsequently moved to Louise Avenue, Mont Albert and Isabel may have been born while they were there. Later they purchased 20 Barton Street, Mont Albert. Shirley was born after they moved to Barton Street. Electoral roll details: 1919 1922 24 Louise Avenue, Mont Albert 1924 20 Barton Street, Mont Albert Dave Mair was a very keen sportsman. This is part of a large donation of material from the Deakin, Mair and Young families. The Deakin, Mair and Young families had many connections with Mont Albert and Surrey Hills.A post card type sepia photo of a family posed informally in a garden. Both the woman and the man are seated with children on their knees. A boy stands between them. In the background is a high paling fence beyond which 2 chimneys of adjacent properties can be seen. The woman is wearing a large brimmed hat so that half her face is in shadow. The man has a moustache and a receding hairline. All the faces are part in shadow.On rear: "MAIR / Dad Gwen Geoff / Mum Beryl" in blue biro. Thought to be Beryl Mair's handwriting. gwynneth mair, david miller mair, dave mair, lily vipond mair, lily vipond deakin, georffrey mair, gwynneth mair, beryl mair, hawthorn, children, families

This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed watercolour of a treed view of Ballarat.art, artwork, j. fowler, mount pleasant, ballarat, landscape, watercolour

A badly damaged and faded green paperback music textbook titled: First Steps in Harmony - a catechism of elementary Harmony for the use of beginners by Minnie Cuthbert L.R.A.M A.R.C.M. It has a preface, contents and index at the front of the book with lessons throughout. The back cover has printed in an ornate design, Theo Bonheur's Standard Pianoforte Tutor. At the back of the book are some advertisements for music books.non-fictionFirst Steps in Harmony book was written by request to assist junior pupils, and those beginners in Harmony who are only able to devote a small portion of time to its study. The book is divided into Lessons.music, songs, lyrics, singing

Built in 1924 by Vic Fish to a typical Dahlsen home plan. House let in 1939, but small bungalow retained for own use. Later bought by J Williams and set up as small camp park - Gelia Park.Colour photograph of Echo Beach Holiday Park. Shows a 1920's style dwelling with extension at front. Tiled roof, fibro cladding, at 33 Roadknight Street, Lakes Entrance Victoriafences, houses, heritage study

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.