A bite on the Beechy. Norman Houghton. Norman Houghton; Geelong (Vic); c.2011. 7 p.; refs. Paper.beech forest; colac; railways; gellibrand; wyelangta; lavers hill; crowes;

Beech Forest: capital on The Ridge. Norman Houghton. 1st ed. reprinted. Geelong (Vic.); Norman Houghton; 2007. iv, 112 p.; illus, maps. Soft cover. beech forest; the ridge; norman houghton; roads; railway; bushfires; weather; governance; commercial life; timber; agriculture; education; churches; sports;

This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand.The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.Small black and white photograph of 'Houghton (demolished)', Princess Street, Kew."Houghton"historic houses -- kew (vic.), houghton -- princess street -- kew (vic.)

Homes in the Hills. Historic glimpses of Barongarook, Gellibrand, Banool and Carlisle River. Norman Houghton. Soft cover. iv, 48 p.; illus, map, diagram. Artwork and layout: Desktop Dymanics. otway ranges; norman houghton; barongarook; gellibrand; banool; carlisle river; agriculture; mining; sport; homes; hills;

This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand.The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.Small black and white photograph of 'Houghton' (now demolished) in Princess Street, Kew."Houghton. ca. 1860 / 17"historic houses -- kew (vic.), houghton -- princess street -- kew (vic.)

Bill Houghton, Heidelberg Golf Club Captain, 1992-1994One of a set of framed portraits of Club Captains. Framed colour portrait, timber frame with dark green mount under non-reflective glass.Bill Houghton - Captain - 1992-1994hgc captains, bill houghton

Paperback; v. : ill.; 30 cmlocal government, warrandyte

Revised and enlarged from an earlier Warrandyte Historical Society document

Andrew SIBLEY ( 9 July 1933-3 September 2015) Born London Since the 1960s Andrew Sibley consistently exhibited throughout Australia and Internationally. He was senior lecturer of painting at RMIT from 1967-1987 and senior lecturer of painting at Monash University from 1990-1999. Four hand coloured linocuts by Andrew Sibley framed in two frames. .1) ‘Memories of My Garden’ Hand Coloured Linocut Plate 21.6 x 13.7cm Paper 38.5 x 28.5cm 1993 (2013) Edition: 100 .2)‘Roses with Love’ * Hand Coloured Linocut Plate 21.3 x 13.4cm Paper 38.5 x 28.5cm 1993 (2013) Edition: 100 .3) ‘Flowers Embraced’ Hand Coloured Linocut Plate 20.5 x 12.8cm Paper 38.5 x 28.5cm 1993 (2013) Edition: 100 .4) ‘Red Roses’ * Hand Coloured Linocut Paper 21.3 x 13.4cm Paper 38.5 x 28.5cm 1993 (2013) Edition: 100 The four linocuts are the subject of the Private Press book: ‘Four Linocuts by Andrew Sibley’ written by Robert C. Littlewood, The Lytlewode Press, Chateau Bosgouet, Normandie, France, 2014. Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artwork, artist, sibley, andrew sibley, churchill, printmaking, gippsland campus

andrew smith, staff, student, farewell, james hitchmough, 30th celebration, burnley backchat, friends of burnley gardens

Alexander McCubbin published Fanny Withers ‘The Life & Art of Walter Withers’ in 1920. But, although Withers had written a 100 page manuscript, the book was edited into a 28 page format. This is that entire manuscript, its preparatory notes and three other manuscripts (1902, 1911, 1918).1. Signed by Andrew Mackenzie on Title page 2. Collector's edition No 58 signed by Andrew Mackenzie and Kathleen Mangan on Title pageartists, eltham, fanny withers (nee flinn), walter withers

Paperback; 93 pp; 21 cm[written on contents page] June 6, 2017 Best wishes, Andrew Brasiermontmorency, montmorency football club

Andrew SIBLEY ( 9 July 1933-2015) Born London Since the 1960s Andrew Sibley consistently exhibited throughout Australia and Internationally. He was senior lecturer of painting at RMIT from 1967-1987 and senior lecturer of painting at Monash University from 1990-1999. Six framed limited edition prints by Andrew Sibley using the Sugar-lift etching technique and hand colouring. Printed at the Australian Print Workshop, Melbourne and published by The Lytlewode Press, Melbourne in an edition of 125 in 2010. .1) 'Catch a Falling Star' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 17/125 Signed, inscribed and numbered by the artist. Catch a Falling Star written by Paul Vance (born 1929) and Lee Pockriss (1924-2011) 1957 .2) 'It’s only a Paper Moon' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 1/125 Signed, inscribed and numbered by the artist. It's Only a Paper Moon by Harold Arlen (1905-1986) lyrics by E. Y. Harburg (1896-1981) and Billy Rose (1899-1966) 1933 .3) 'Come Fly With Me' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 9/125 Signed, inscribed and numbered by the artist. Come Fly with Me by Jimmy Van Heusen (1913-1990) lyrics by Sammy Cahn (1913-1993) 1957 .4) 'You are the Sunshine of my Life' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 1/125 Signed, inscribed and numbered by the artist. .5) 'Some Enchanted Evening' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition:1/125 Signed, inscribed and numbered by the artist. Some Enchanted Evening Richard Rodgers (1902–1979) and Oscar Hammerstein II (1895–1960) South Pacific 1949 .6) 'Vilya, Oh Vilya' Sugar-Lift Etching With hand colouring by the artist Plate 67.7cm (H) x 48.0cm (W) Paper 76.0cm (H) x 57.0cm (W) Edition: 1/125 Signed, inscribed and numbered by the artist. Vilya, Oh Vilya Die lustige Witwe (The Merry Widow), operetta Vilya, oh vilya Composed by Franz Lehar (1870-1948) 1905 Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artwork, artist, sibley, andrew sibley, printmaking, etching, churchill, gippsland campus

Andrew BECKERS (1981- ) Andrew Beckers studied Visual Art of the University of Ballarat. 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 pastel drawing. If you can assist with information on this artist or artwork please use the comment box below.art, artwork, andrew beckers, alumni

Andrew BECKERS (1981- ) Andrew Beckers studied Visual Art of the University of Ballarat. 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 work.art, artwork, andrew beckers, human movement collection

Paperback; 111 p. : ill. ; 28 cm.ISBN 0909674345 [written on flyleaf] To the members of the Shire of Eltham Historical Society, with my very best wishes, Andrew Mackenzie 8 July 1987.victor cobb, artists

This altar and rear reredos were part of the original furnishings of the St Nicholas' Mission to Seamen's Church at 139 Nelson Place, Williamstown, Victoria. The Church was operated by the Mission to Seamen organisation. The reredos was donated to the Williamstown chapel by Miss. M. Breaks, in memoriam Miss. L.A. Breaks, who served a very active part in the Seamen's Mission, and the altar was donated by Mr and Miss J R Schutt. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen was an Anglican charity that served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This altar and reredos are significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. They are historically significant for their connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. The connection of this furniture to the Mission to Seamen and to the Ladies Lightkeepers’ Auxiliary highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. Altar and reredos or altar panel, wooden. The timber is panelled, stained and has a varnished finish. The base has a detachable vertical panel with the decoration of a sword and two anchors, the reredos has a cross on a panel. It was made by Hadwen and Houghton, Malvern, Victoria. A plaque at the bottom right edge is marked with the maker's name. The altar is part of the St Nicholas Seamen's Church collection.On removable panel; logo of [sword and two anchors] On bottom right of base: "Hadwen and Houghton, Malvern"flagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, great ocean road, religion, religious service, st nicholas seamen’s church, williamstown, missions to seamen victoria, altar, reredos, church furniture, religious furniture, miss m breaks, miss l a breaks, mr and miss j r schutt., worship service

A letter from Andrew Fabinyi at Pergamon Press, regarding the title and format of 'Living in Australia', and other arrangements.Foolscap, 1 page

This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.The National Trust citation in 1960 stated that Houghton (dem.) appeared to date from the 1850's and might possibly be of prefabricated construction. Although modified, it contained substantial external evidence of its early construction and is one of the few buildings remaining in Kew from this early period. It was used at one stage as a doctor's surgery and residence - the surgery being at the rear of the property. The image was used by Dorothy Rogers in 'A History of Kew' (1973), facing page 128.Houghton. Built prior to 1860. Occupied once by Miss Bowden. Now cottage belongs to War Widows Homes, Princess Street. Miss Bowden's cottage. Now Mrs Gahan. Built prior to 1860.houghton, princess street, kew, dorothy rogers

This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand.The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.Small black and white photograph of 'Houghton (demolished)', Princess Street, Kew.historic houses -- kew (vic.), houghton -- princess street -- kew (vic.)

A letter from Andrew Fabinyi at Pergamon Press, agreeing that 'Living in Australia' is an excellent title and regarding sending of first dummies.Quarto, 1 page

A letter from Andrew Fabinyi at Pergamon Press, regarding the title of 'Living in Australia', and how and when they might meet in person.Foolscap, 1 page

Reminiscences of Andrew Ross derived from a series of 42 articles which appeared at intervals in the Evelyn Observer newspaper between 21 October 1887 to 29 December 1893 under the heading "Reminiscences, County of Evelyn. The Evelyn Observer was circulated throughout much of the Yarra Valley.

A letter from Andrew Fabinyi at Pergamon Press to Robin Boyd, regarding the invitation letter sent to Lord Casey (item D327.2).Quarto, 1 page

A tribute to John Cain (1931-2019) by Andrew Leigh, extract from a speech in February 2020; published in Recorder, the official newsletter of the Melbourne Labour History SocietyMagazine clipping, black text and colour imagejohn cain, politicians, premier of victoria

A letter from Andrew Fabinyi at Pergamon Press requesting Lord Casey to launch Robin Boyd's 'Living in Australia' towards the end of November 1970, at John Batman Travelodge (designed by Robin Boyd).Foolscap, 1 page