Monochrome portrait photograph of a man. He has a beard and bushy eye brows and sits with his face slightly in profile. He wears and double breasted jacket with a bow tie. His portrait is placed in an oval framed mount board which is in a rectangular wooden frame. The frame is painted dark brown but has a border of flowers and foliage picked out in gold colour.official portrait photography, civic portrait, mayor, portland mayor, 1800s

Born in Bendigo and trained as a nurse in the 1950s, Sonia Jill O’Brien devoted a lifetime to social and environmental issues at both the state and local level. From her work in the 1960s with the Family Planning Association of Victoria, of which she was a founding member, through to the 1990s as a member of the Ethics Committee of the Department of Health, she supported efforts to improve women’s health and reproductive rights. At the local level she was most active on committees that worked to save the natural and built environment. The Power-line Action Group, the Studley Park Conservation Society, and the Yarra Bend Park Trust all benefitted from her indefatigable endeavours as well her vision. In 1980, Jill O’Brien successfully stood for the Kew City Council and served as Mayor in 1983 and 1984. With an eye to preserving the past as well as guarding the future, she had the Mayoral robes restored and in 1980 and 1981 was president of the Kew Historical Society. The preservation and restoration of Villa Alba in Walmer Street owes much to her determined efforts throughout the 1980s. On Council, she chaired a number of committees involved in the saving of the Kew River Parklands from the proposed transmission line of the SEC. To this end, she was the Council representative on the Merri Yarra Municipal Protection Committee.Rare colour photograph, used as the official mayoral portrait of Cr Jill O'Brien.Formal civic portrait of Cr Jill O'Brien in red mayoral robes wearing lace jabot and cuffs. The portrait is part of the larger Jill O'Brien Collection donated by her daughters.cr jill o'brien, city of kew -- mayors, mayoral portraits -- city of kew

Displayed in History House. Borough of Portland (1864-1949)Large black and white photograph of a man with receding grey hair and a neat rounded white beard and moustache. He is wearing a three-piece suit with a dark tie and white shirt, and holding folded white paper in his left hand. Mounted in a wood veneer matt in a wide wooden frame, under glass.Front: Cr Hill/August 1920-1932/Mayor 1926-27, 1928-29 (engraved on plawue, lower centre frame)civic photography, portrait, councillor, city of portland

This is a photograph of a painting by the noted artist George Webb (1861-1949). Webb was best known for his portraits of civic dignitaries in Melbourne and Adelaide but he also produced many landscapes and seascapes. Some of these feature Warrnambool landmarks as he married, in the late 1890s, Christina Lake, the step-daughter of George Rolfe who owned the property known as ‘Lyndoch’, near the mouth of the Hopkins River. Webb painted the early cottages at ‘Old Lyndoch’ using a photograph taken some time earlier. The painting was given to Dick Allan, the chauffeur in the employ of Florence Lake, Christina’s sister. Florence Lake owned and resided at Lyndoch after her parents’ death. Dick Allan’s son, living in Tasmania, acquired the painting and Les O’Callaghan obtained the photograph of the painting from him. Although this is only a photograph of an original painting, it is of some considerable importance as the painting has great historical significance and this is the only representation we have of it. The man in the photograph represents George Rolfe and the story of Rolfe and his ownership and development of the property of Lyndoch is an important one in Warrnambool’s history. The original by George Webb is also an important work of art in its own right.This is a colour photograph of a painting. The frame of the original painting can be seen at the bottom of the photograph. The photograph is in on old frame which has two wooden edgings with the outer one having an ornate gold plaster edging and an inner one with a gold velvet insert next to the glass. The ornate gold plaster has a piece missing near the top left hand corner. The photograph is set into a gold-coloured wooden frame inside the glass. The photograph is mounted onto cardboard and covered with cardboard at the back with a small piece of wood attached (from the original frame). The backing is nailed on. lyndoch, george webb, george rolfe

Photograph of a portrait of Anna Flintoff dated circa 1855. The Flintoff family came to Greensborough circa 1841. They owned, farmed and leased land north of the present Civic Drive.Digital copy of black and white photograph.flintoff family, anna flintoff

Photograph of a portrait of Edward Theodore Flintoff and his grave. The Flintoff family came to Greensborough circa 1841. They owned, farmed and leased land north of the present Civic Drive. Edward died on 14/06/1899. A pioneer Greensborough family.Digital copy of colour photographs.flintoff family, edward theodore flintoff

These booklets were produced in 1896 by the Warrnambool photographer, Joseph Jordan as a souvenir of Warrnambool with three of them being also souvenirs of the 1896-7 Warrnambool Industrial and Art Exhibition. Joseph Jordan, born in England, took up photography whilst on military service in India. In 1890 he set up as a professional photographer in Warrnambool and became well-known for his family portraits and official photographs of civic dignitaries in the town. He retired in 1916 and the business was continued by his son, Arthur. The Warrnambool Industrial and Art Exhibition was held over three months in 1896-7 in the civic buildings with some temporary buildings added. 70,000 people were said to have attended over that time with concerts, operas, art and sporting competitions and many exhibits. Joseph Jordan had the exclusive rights to publish a souvenir booklet. These booklets are of prime importance because:- 1. They are invaluable pictorial records of Warrnambool and district in the late 1890s. 2. They contain valuable advertisements which give us pictorial representations and other information on businesses in Warrnambool in the late 1890s. 3. Three of them relate directly to the Warrnambool Industrial and Art Exhibition and contain an article dealing with the Exhibition. 4. They contain a written description of Warrnambool in the late 1890s. 5. They show the work of one of our most important photographers, Joseph Jordan and probably also the work of his son, Arthur. These booklets have been published in 1896 by the Warrnambool photographer, Joseph Jordan and contain 15 pages of black and white photographs of Warrnambool and district, many advertisements for local and Melbourne business and an article of the town of Warrnambool. Three of the booklets also contain information on the 1896-7 Warrnambool Industrial and Art Exhibition. Booklet One and Two – dark red hard cover with the title in gold and ornamental scroll work. The cover printing of Booklet Two is almost obliterated. The books are glued and reinforced with string. Booklets Three, Four and Five – soft covers in beige tonings with the title in black print and featuring ornamental scroll work with a sketch of a bird. The covers have much foxing. The booklets are bound with black and brown tape. Booklet One: ‘Ivy Morden’ Booklet Two; ‘Mr Peter Gibbons’ joseph jordan, warrnambool industrial and art exhibition

The sculptor of the Shakespeare sculpture was Andor Meszaros of Kew, Melbourne. The unveiling was undertaken by Mayor Arthur W. Nicholson. The statue was presented by L.F. North, general Manager of the Fidelity Trustee Company Limited, representing the late H.P. Stevens as one of the benefactors whose generosity enabled the Statue to be erected. The "portrait statue" shows how people saw Shakespeare as he wanted to be seen; as author-actor bowing to the applause. His position implies modesty, the knowledge of his own worth; majesty. his movement is at once humble and royal. The statue was positioned so people approaching or leaving Ballarat Civic Hall will see the statue full face, and the bowing attitude enables them to continue to study the face even from a few feet distant. The base in in the form of an Elizabethan stage, and is designed so that its sides correspond to the existing angles of its position. The proposal to erect a Statue of Shakespeare in Ballarat stemmed from a movement in 1889, when a committee was formed and a meeting held to inaugurate the proposal. At the initial meeting 258 pounds was contributed to the fund, which was later built on by further donations. In 1935 the fund stood at 945 pounds. In 1939 a bequest of 100 pounds was received from the estate of the late Frank Gale. In October 1952, the Fidelity trustee Company Limited notified of an extract of the will of Harry Person Stevens, in which be bequeathed the sum of 2,000 pounds to the fund for the erection of a Statue of William Shakespeare. In 1957 it was felt the fund had accumulated to an amount sufficient to carry out the intentions of the fund. at that stage the money in hand was approximately 4,000 pounds.A small committee was appointed to further the proposal. In May 1959 a panel of adjudicators met to determine the winner of a limited competition amongst sculptors. The committee comprised Cr G.L. Scott, Cr K.C. Webb, Cr W.E. Roff, J.H. Heinz representing the Fidelity Trustee Company Limited, and R.P. Evans of the Ballarat Fine Art Gallery. Norma Redpath, the nominee of the Victorian Sculptors' Society was present in the capacity of an adviser. Four page leaflet printed for the City of Ballarat Ceremony of handing over, accepting and unveiling the Shakespeare State at the Ballarat Civic Hall. The Shakespeare sculpture is cast in bronze and sits on a Stawell stone base. stevens, fidelity trustee company, gale, ballarat civic hall, shakespeare, north, nicholson, stawell stone, andor meszaros, sculpture

Cotton / Cloth Commemoration of the coronation of King Edward VII , June 1902 , cream background , red borders , showing the king's portrait , Westminster Abbey , Buckingham Palace & coat of arms , Dieu Et Mon Droit.civic mementoes, royal souvenirs, the coronation of king edward vii , june 1902

a. Photograph of home 'Caradon' (Eaglehawk) and booklet re Caradon, Cornwall. Home of John Hooper - front/side of two-storied brick building ''Eaglehawk's Civic Offices'' with information about Hooper and family; with separate copy of extract from book re detail of the life of John Hooper (with reproduction of portrait photo); b. 36 page booklet (Trades Directory) re the Caradon district in Cornwall- companies and services in south-east Cornwall (no date - but recent - 1960s??)buildings, house, caradon, mr j. hooper. caradon. cornish. trades directory.

John Forbes was a resident of Sunbury.A passport photo of John Forbes torn from his passport issued on 17 June 1970 in Melbourne.Department of Immigration stamp / Melbourne / 1970 / R. BRITTAIN / Signed J. A. Forbes / (also photograph of bearer)portraits, forbes, john, george evans collection

From the information on the back, the soldier in the photograph has been identified as Dr. Falkiner's son. Dr. Falkiner was a doctor who practised medicine in Sunbury. He built "Ardcloney" mansion in Macedon Street, Sunbury.A black and white photograph of a soldier from the waist up identified only as Doc Falkiner's son. Unmounted.written on back: Doc Falkiner's sonsoldiers, armed forces, uniforms, portraits, falkiner, - (dr), talma, photographers, clothing and dress, george evans collection

A studio photo of a male jockey dressed in riding silks carrying a saddle and a whip.horse racing, jockeys, portraits, unidentified, men, george evans collection

A studio photograph of a World War I soldier wearing uniform with a peaked cloth hat. There is an image of a garden and balustrade as a backdrop. Identified as A. Dench. It is mounted on fawn card with a fine brown border around the edge and a decorative oval mounting behind the photo.Yours truly / A. Dench / (handwritten)world war 1, soldiers, armed forces, hats, portraits, dench, a., kalma, photographers, george evans collection

A black and white portrait of Peter La Franchi in his soldiers uniform.world war 2, soldiers, uniforms, clothing and dress, portraits, la franchi, peter, george evans collection

The photograph has been copied from an older snapshot.A black and white photograph of the bust of C. H. Gilligan in a RAAF uniform. He is standing in front of a garden fence.raaf, uniforms, portraits, clothing and dress, gilligan, c. h., royal australian air force, george evans collection

This has been copied from and older photo.A black and white photograph of Audrey Blaudie in her Army uniform.world war 2, uniforms, clothing and dress, women, portraits, blaudie, george evans collection

A black and white photograph of Gavin Brain (head and shoulders) in civilian clothes. He is wearing a stetson hat, a with tie checks and spots, a light shirt and a dark jacket. He is standing in fron of a doorway with a screen door.world war 2, portraits, hats, exservicemen, brain, gavin, george evans collection

This photo is part of a collection of World War II and returned soldiers held in the George Evans Museum and collected by Jeff Cossum, previous curator (1989-1995)A black and white photograph of Owen Edwards wearing a RAAF uniform. (Bust only)on back: Owen Edwards / 119995 LAC RATworld war 2, raaf, uniforms, portraits, royal australian air force, clothing and dress, exservicemen, cossum, jeff, george evans collection

This photograph is part of a collection of World War II returned soldiers from Sunbury. The collection was collated by Jeff Cossum, curator of the George Evans Museum from 1989-1995.A black and white head and shoulders image of John Callaghan in summer army uniform. He is wearing an open necked cotton shirt and a turned down slouch hat with a khaki band.world war 2, uniforms, clothing and dress, portraits, armed forces, soldiers, hats, callaghan, john, cossum, jeff, george evans collection

This photograph is part of a collection of World War II returned soldiers from Sunbury. The collection was collated by Jeff Cossum, curator of the George Evans Museum from 1989-1995.A head and shoulder photograph of Alan Rhodes in his army uniform. He is hatless. The AIF badge is on his right collar.uniforms, portraits, armed forces, clothing and dress, badges, exservicemen, rhodes, alan, george evans collection

This photograph is part of a collection of World War II returned soldiers from Sunbury. The collection was collated by Jeff Cossum, curator of the George Evans Museum from 1989-1995.A head and shoulders photograph of William McGregor, who is wearing an army uniform. The badges and colours indicatiing rank are seen on the collars, epaulette and top sleeve.world war 2, armed forces, portraits, uniforms, clothing and dress, badges, mcgregor, william, cossum, jeff, george evans collection

This photograph is part of a collection of World War II returned soldiers from Sunbury. The collection was collated by Jeff Cossum, curator of the George Evans Museum from 1989-1995.A photograph of the bust of airman Max Davis.world war 2, raaf, royal australian air force, portraits, davis, max, george evans collection

This photograph is part of a collection of World War II returned soldiers from Sunbury. The collection was collated by Jeff Cossum, curator of the George Evans Museum from 1989-1995.A head and shoulder photograph of John H. Moran, a sailor in the Royal Australian Navy.world war 2, hmas cerebus, hmas cerberus, royal australian navy, portraits, sailors, moran, john h., george evans collection

A photocopy of a studio portrait of a Scout Leader, Jack Elliot. He is sitting on a stool in front of a coastal landscape backdrop.scout leaders, scout groups, portraits, elliot, jack, george evans collection

A black and white copy of a portrait of a young woman who is resting on the back of an upholstered chair. Her hair is parted down the middle and is pulled back. She is wearing a high necked white frilled collar with a dark blouse with a pendant at the neck. The sleeves are long and trimmed with lace at the wrists.1880s, george evans collection

The photograph of the drawing was obtained by George Evans Museum from the Road Construction Authority at 60 Denmark Street Kew. The negative No. 59 909 is held by that organisation.A photograph of a black and white drawing of a head and shoulders portrait of Mr McCormack, former Shire Engineer of the Shire of Bulla, drawn by P G White. Black and white with a white border."P G White"mccormack, thomas, shire of bulla, white, p.g., road construction authority, shire engineers, george evans collection