This photograph is from the Max Harris Collection held by the Ballaraat Mechanics' Institute. Please contact BMI for all print and usage inquiries.ballarat, botanic gardens, birds eye, above, 1960s

Photograph. Harry Biggs Collection. Taken from a tourist booklet called 'Views of Sandhurst'. Published by Schutz & Co. A coloured print taken from the Tower in the Gardens. Trees in foreground & the buildings of Bendigo City beyond.photograph, streetscape, sandburst, harry biggs collection, general birds eye view of sandhurst

Birds Eye View of the Ballarat School of Minesballarat school of mines

black and white copy: elevated view of Bendigo from Lower Pall Mall. Titled 'Birds eye view of Bendigo' on image. Treed area in foreground, townscape behind, ranges on skyline. In grey lead on back: view of Bendigo from Lower Pall Mallunknownplace, land, bendigo

Painting of Camp 3 showing the layout of the compounds and fences. Done by internee Wilhelm Kuebler.Photograph of a painting of the layout of huts, fences, compounds of Camp 3. Sky and trees in background. Photograph has been laminated. Painting is by Templer internee Wilhelm Kuebler.J A K bottom right corner On back sticker: "Bird's eye view of Internment camp 3 J A K"camp 3 compound, wilhelm kuebler

Written onto photograph, "Birds eye view of Ringwood". Small photograph notes that photograph was taken in 1912 and that is shows the brickworks and Reimers house in Warrandyte Rd.

Written below photograph, "Birds eye view East Ringwood - Showing Recreation Ground". Typed below photograph, "Mt. Dandenong Rd. on right. Taken from present Civic Centre site. Football final in progress - 1923".

Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.Bird's eye view of Melbourne looking across a park to the Princess Theatre. Coloured postcard. Weir collection."Bird's Eye View of Melbourne"postcards, george and edith weir, princess theatre, eastern hill - melbourne, weir collection

Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.Bird's eye view of Melbourne looking across a park to the Princess Theatre. Coloured postcard. Weir collection."Bird's Eye View of Melbourne"postcards, george and edith weir, princess theatre, eastern hill - melbourne, weir collection

This poster has been produced as a saleable item by the firm of McCarron Bird & Co of Melbourne about 1900. This firm was founded in 1872 and is best known for its publication of the two-volume work, 'Victoria and its Metropolis' (1888). The poster was intended to be hung on a wall for decorative and advertising purposes. It contains four attractive lithographs of the towns, Warrnambool, Port Fairy, Portland and Hamilton and a great number of advertisements and illustrations, some from Melbourne and the rest from the Westen District towns mentioned above. One Warrnambool advertisement is for the general merchant business of William Caffin in Kepler Street and two others are advertisements for the coastal ships, Flinders, Dawn and Casino which came into the port of Warrnambool. This poster has local historical significance as it has a descriptive drawing of the town of Warrnambool about 1900 and shows the buildings that were existing at that time.This is a cream-coloured sheet of paper with a coloured centre piece showing the title of the poster, four coloured lithographs of Western Victorian towns and advertisements printed and illustrated in black and white. The edges of the poster are frayed and the paper is torn at the centre left edge.warrnambool 1900, western victorian towns 1900, william caffin general merchant warrnambool

Taken in Beechworth, this photograph depicts a birds eye view of Ford Street. Black and white rectangular postcard. The image is printed on matte photographic paper and is mounted on cardboard. Obverse: (98) BEECHWORTH Reverse: 1997.2761 POST CARD CORRESPONDENCE ADDRESS ONLY KODAK AUSTRALIAbeechworth, ford street, kodak, burke museum, birds eye view

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.Before true aerial photography became possible, photographers such as J.F.C. Farquhar were compelled to shoot their images from the highest vantage point. Here, it is presumed to be the roof of Xavier College, from which the panoramic view extends west towards the rise of Studley Park. The houses in the foreground face the southern end of Gellibrand Street. Wellington Street is at an angle to the camera with the Queen Street intersection on the near right. The wooden building behind the large horse paddock on the other side of Gellibrand Street is the Kew Recreation Hall, built 1888, demolished 1960. It was reputed to have one of the finest dancing floors in or around Melbourne. The Bowling Green at the rear of the Hall belonged to the Kew Bowling Club. Further west is the Kew Railway Station on Denmark Street, opened to the public in 1887. At this period, much of Studley Park was locked up in large landholdings, dominated by large mansions such as ‘Byram’. Bird's Eye View Looking Westkew illustrated, kew where we live, photographic books, henry kellett, denmark street, kew recreation hall, kew bowling club, wellington street

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.This panoramic view was probably taken from the roof of Xavier College. It invites the viewer to look down on the buildings and streets of Kew, and across to the distant horizon. Mansions and solid bourgeois villas dominate the view of Charles and Wellington Streets. The imposing spires of the Presbyterian and Methodist Churches, built in one of the highest areas of Kew, can be seen in the distance. In the foreground, the photographer includes three significant mansions: Molina, Roxeth and Elsinore. Molina, in the foreground, and the group of weatherboard buildings in its yard was used at this stage for the privately operated ‘Kew High School’ (founded 1872). Roxeth, the home of Herbert Henty can be identified by its distinctive four-sided tower. All three buildings are now part of Trinity Grammar. Other built structures observable in the photograph include Wilton (now the Kew RSL), designed by Guyon Purchas for Dr William Walsh in 1886, and the only known image of the Prospect Hill Hotel prior to the renovation of 1935. Bird's Eye View Looking Northkew illustrated, kew where we live, photographic books, henry kellett

The illustration published in the Illustrated Australian News (Melbourne, Vic. : 1876 - 1889), p. 144, on 2 September 1885, depicts Sandridge now Port Melbourne in 1885 from a seamen's point of view on board a ship.This engraving is a rare depiction fo the Bethel church as there is no early photograph. The Sailors' Rest is located at the back. In 1887, the church was demolished to erect the building still standing on the corner of Nott Street and Beach Road.Copy of an engraving depicting a sailor sitting on the mast of the ship and looking at the shore from the sea. A Bird's-eye View Of Melbourne From Sandridge.nott street, sandridge, melbourne, port melbourne, beach road, seamen, ships, sails, sailing ships, customs house, bethel church

Displayed in History House.Portland sign. Mounted in (bird-eye) wood frame.

Bird's eye view of Main Street, Melton, looking west.landscapes of significance

Bird's eye view of the purification works at Melton Sewerage Authoritycouncil

Hugh G Ferguson (1900–75) worked in Advertising as an account manager, and was campaign director for Arthur Rylah is Victorian politics. He organised the first major trade fairs at the Royal Exhibition Buildings after the Second World War, including a World Trade Fair. He built a home in Brougham Street and represented North Ward on Kew Council from 1952 to 1968. He was elected Mayor for the 1959-60 term.Advertising promotional photoshoot in the bedroom of the so-called 'Laminex House', in Brougham Street, Kew. The room was fitted out with laminex furniture to promote the brand and its products. This image was a later colourised version for an advertising campaign. The room was in the home of Cr and Mrs Hugh G Ferguson."Laminex Bird's Eye Maple used for laminating a bedroom suite"advertising -- laminex products, laminex, hugh g ferguson, houses -- brougham street (kew)

Lydiard Street is known as an axcellent example of Victorian architecture.Various views of Ballarat's Lydiard Street Northballarat, lydiard street north, buildings, aerial, birds eye, sebastions, regent cinema

POSTCARD -BLACK AND WHITE PHOTOGRAPH OF Melbourne - birds eye view - card dated 25.5.1911.postcard, photograph, melbourne, postcard -black and white photograph of melbourne early 1900s

Thick impasto painting depicting a bird's eye view of the city of Melbourne and the Yarra river.Signed and dated 'Eric Stewart 1962'. eric stewart, painting, landscape, melbourne, yarra river

This was the second house built by Caleb Kennett on this site. His was the first house in Evans Street, 1868. At turn of 21st century, home of Jenny and Noel Turnbull. Copied from Gould collection.Lasercopy of photo of 64 Evans Street and surrounding area (bird's eye view), originally home of abattoir owner Caleb Kennett..built environment - domestic, caleb kennett, noel turnbull, jenny turnbull, jack gould

6301.1 - Blueprint diagram of Jumbunna coal mine tunnel proposal, with bird's-eye view and cross section showing tunnels, coal limits, faults, etc.

Henry MORITZ (1931- ) Born Mainz, Germany Arrived Australia c1952 Henry Moritz was an experienced commercial artist when he left Germany for Australia. After working as a railwayman, coal miner, fruit picker and steelworker, he started teaching commercial art at the Ballarat School of Mines Technical Art School in 1963. He moved to the Mount Helen Tertiary Division, and was head of the Art School at the Ballarat College of Advanced Education (BCAE) when he produced this work. The Ballarat College of Advanced Education logo was derived from the Southern Cross depicted on the Eureka Flag, which was adopted by Ballarat College of Advanced Education in 1978. The logo was designed by former student Debra Garton, who graduated with a Diploma of Art and Diploma of Education. 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.Farmed marquetry using fine woods chosen for their grains and reflective properties: silver ash, cedar, queensland walnut, grey bird's eye maple and African gaboon.art, artwork, henry moritz, marquetry, logo, southern cross, ballarat college of advanced education, available, stars

A Bird's-Eye View, Eaglehawk Area in the 1850s. Publisher: Noelene Wild. Place of publication: Ealgehawk. ISBN: 0-9579939-1-9. 76 pages. Photographs & illustrations.Noelene Wildbendigo, history, eaglehawk, eaglehawk history pioneers goldmining

Photographic postcard showing view of town of Bright with mountains in backgroundAt bottom of photo: "Victorian Alpine Scenery. - Birds-eye View of Bright" At bottom left: "H. Manning, Copyright" At bottom right: "F. Foxcraft"bright-victoria, victorian alps