Colour photographeltham, alistair knox park, art, classical landscape, cliff burtt, sculptures

Iron sculpture by Cliff Burtt welcomes visitors to the Gateway of Eltham. It was constructed of Corten Steel in 1994 and won the Eltham Public Art Award in 1996. “Award winning sculptor, Cliff Burtt, often references the geometry of architectural forms in his bold, minimalist public sculptures. In this corten steel work the repeated arches of the temples of antiquity are in dialogue with the nearby spans of the railway trestle bridge that cuts through the Eltham parkland. The formality of the architecture is offset by the organic sweeps of the top profile of the work, which playfully acknowledges the hilly topography of the region” – Highlights from the Nillumbik Art Collection Two colour photographs of iron sculptureclassical landscape, sculptures, art, parks, alistair knox park, eltham, cliff burtt, public art

nillumbik shire council public art

Eltham Gateway, Classical Landscape, Cliff Burtt 1996, Alistair Knox ParkTomorrow's history documented todayeltham, jim connor collection, main road, eltham gateway, alistair knox park, art in public places, classical-landscape (1996), cliff burtt

35mm colour positive transparency Mount - Black and Whitealistair knox park, art in public places, classical-landscape (1996), cliff burtt, public art, sculptures, surveyor of suburban environs (1991)

Famous French artist Jean Baptiste Camille Corot, 1796-1875, was trained in the classical landscape style. His inspiration came from his travels around France and Italy. He developed a soft poetic or romantic style of work which became very popular. He had the skills to bring'light' into his paintings. The original oil on canvas painting by Corot is held at The National Gallery in the United Kingdom. It is titled 'Souvenir of a Journey to Coubron' and is one of twenty-seven of his works at the Gallery. Corot visited Coubon, east of Paris, many times. In 1873 during his stay there he sketched the scene that became the basis of this painting. This reproduction print was made by The Medici Society Ltd., founded in England 1908. The Society's aim was to make artwork affordable and available to the general public. The name Medici was chosen to honour the support and encouragement given to artists in the 15th century by Lorenzo de' Medici (1449 - 1492), known as Lorenzo the Magnificent, and his family. His profile is on the company's trademark. The Medici Society still produces Fine Art reproduction prints as well as selling original works. The print was framed by Westminster Art Gallery in Camperdown, London. The handwritten text on the back of the artwork adds some background to the artist: Corot was apprenticed to a Draper but changed to his profession at the age of 22 years. When he went from a poor artist to achieving wealth and fame he generously supported his less fortunate fellow artists. Corot found that the light and shade in a natural scene meant more to a landscape painter that what could be learned by following the principles of the academies. Corot was 51 years old before he sold his first picture. He though that he was the only artist that could really paint 'light'. The National Gallery, Victoria, has an original oil on canvas by Corot "the bent tree", created 1856-1860. It is in a similar style to this print "Souvenir of a Journey to Coubron", which was likely to have been painted around the same time.This high quality reproduction print was produced in the early-to-mid 1900;'s. This advancement in technology allowed everyday people to own and enjoy the fine art that was previously only accessible to the wealthy. The print is significant for its association with the famous 19th century artist Jean Baptiste Camille Corot.Print of a painting by Jean Baptiste Camille Corot, depicting a landscape with two buildings amongst trees and a boatman in the marshy foreground. The print is famed in carved timber with a cream matt, behind glass. there is an inscription on bottom right of print and further stamped and handwritten inscriptions of the reverse paper. The is a genuine Medici Society Fine Art reproduction print and was framed by Westminster Art Gallery.Original artwork painted and signed by artist "COROT" White sticker with"32" Reproduction print by the Medici Society, London Stamp "Westminster Art Gallery / 91 CAMBERWELL RD. / CAMBERWELL E.6." Text on Corot's history Underlined statement "GENUINE MEDICI PRINT "flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, jean-baptiste-camille corot, french artist, jean corot, camille corot, print, souvenir of a journey to coubron, coubron, 19th century artist, medici society, reproduction print, westminster art gallery, fine art

The Works of Horace Author: James Lonsdale and Samuel Lee Publisher: Macmillan And Co Date: 1890 Further Information: non-fictionThe original author of this work was Quintus Horatius Flaccus, one of the leading Roman lyric poets during the time of Augustus Caesar (1st century BCE). This volume features the complete surviving works of Horace, rendered entirely into English prose. It includes his famous Odes, or lyrical poems, as well as his earlier poems on politics and social issues of the time. It also features his Satires, which offer humorous commentaries on Roman life, and his Epistles, or letters in verse, which include his highly influential work on literary criticism, the Ars Poetica (or The Art of Poetry).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, the works of horace, samuel lee, james lonsdale, latin translated text

The Sonnets Triumphs and Other Poems of Petrarch Author: Francesco Petrarca (Petrarch) Publisher: Bell & Daldy Date: 1873 Olive hardcover with a brown spine and lettering in gold. The spine has a label with an inscription. Further Information: First completely Translated into English Verse by various hands, with a life of the poet by Thomas CampbellfictionThis volume compiles the core poetic works of Petrarch. It is anchored by his Canzoniere (Songbook), which features his famous sonnets and poems dedicated to his unrequited muse, Laura. It also includes his Triumphs (Trionfi), an allegorical series of poems exploring human life, love, death, and time. Collectively, these works shaped the course of Renaissance literature and popularized the "Petrarchan sonnet" structure across Europe.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, book, pattison collection, warrnambool library, warrnambool mechanics’ institute, ralph eric pattison, corangamite regional library service, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, the sonnets triumphs and other poems of petrarch, petrarch, thomas campbell

CEMA Art Collection Previously located in History HouseThe print depicts a natural landscape with a large classical style building (Menin Gate, Belgium) to the left. In the foreground are hundreds of ghostly figures of soldiers. The background appears to be a distant view of a town with several lights visible. The work is completed in various shades of blue and green. Mounted with brown card the work is framed in a black and gold frame, and has an exposed canvas.Front: Lower Right: Will LONGSTAFF 1927 Brass embossed plate:MENIN GATE AT MIDNIGHT BY WILL LONGSTAFF, PRESENTED TO THE COMMONWEALTH GOVERNMENT OF AUSTRALIA, BY LORD WOOLAVINGTON. COPYRIGHT RESERVED Back: (No inscriptions)

Vol. 7, No. 3, Jul-Aug 2002 CONTENTS Comment 2 Home Country: The Art of John Waller 3 by Dr Christopher Heathcote Short Story: Meeting People Andrew Hutchinson 7 Strange Memories Barbara Blackman on the art of Anna Glynn 10 Walking the Talk 12 Reconciliation in Eltham World Environment Day 13 Poetry news and reviews 14 John Jenkins Australian Classical Music 15 Elizabeth Scarlett Short Story: The Thinkers Library 16 Trevor Hay CD Reviews Kerri Simpson, Brian Brown 22 Book Review Ecological Pioneers 24 Coffee 25 Australian Landscape Conference 26 How many birds is that? 28 Artin' About 29 Wining & Dining 30 Artin' About 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, winter in banyule, john waller, bundoora homestead, willy wonka's ice cream gourmet food, bibby's bahnhof cafe, eltham fullife pharmacy, andrew hutchinson, bulleen art & garden centre, dynamic vegies, montsalvat, anna glynn, aboriginal reconciliation, marg woiwod, mick woiwod, andrew ross museum, trevor hay, st andrews hotel, chris pittard, mary-lou pittard, eltham wiregrass gallery, thompson's pharmacy, heide museum of modern art

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Caulfield Town Hall is now known as Glen Eira Town Hall.From Victorian Heritage Database: Citation for Town Hall, Corner Glen Eira and Hawthorn Roads - HO106 https://vhd.heritagecouncil.vic.gov.au/places/43613 as at (19/10/2020) The former City of Caulfield (now City of Glen Eira) Municipal Offices, located at the south-west corner of Hawthorn and Glen Eira Roads, Caulfield South, were commenced for the Borough of Caulfield in 1884 when they also included a Post and Telegraph Office and Court of Petty Sessions. They were designed by the Borough surveyor, Sydney Smith. The hall was completed in 1890 to the design of Alexander Rankin and the present hall, foyer and portico completed to the design of Goldsmith and Jenkin, architects, in 1931. The complex is historically, aesthetically and socially significant. It is historically significant {Criterion A) as the centre of Local Government services in the area since 1885 and as a centre of post and telegraph and legal services for a period. Its association with architect and Borough surveyor, Sydney W. Smith is important in that the east elevation and facade (ground floor level only)as far west as the tower (lower two stages) survive as evidence of his work, the practice which his son continued after his death in 1886, becoming highly successful. The work of Goldsmith and Jenkin is historically important in that it indirectly demonstrates the growth of the City sustained during the Inter-war period, the work proceeding in spite of the Depression. It compares with other similar work of that time including the refurbishment of the Malvern Municipal Offices and Hall in 1927 (Hudson and Wardrop), the Melbourne Corporation Offices and Hall in 1925-28 (Stephenson and Meldrum, A. and K. Henderson) and the Camberwell Offices and Council Chamber in 1924 (Leighton Irwin and Roy Stevenson), other comparable municipal projects being undertaken during the 1930s. Finally, the Goldsmith and Jenkin works are important as a project of the Depression years organised specifically to alleviate unemployment problems in the Municipality. The complex is aesthetically important (Criterion E) as a prominent and imposing Classically derived complex of its type with individually noteworthy interior spaces being the entry hall and staircase, main Hall, Foyer and Council Chamber. The Adamesque plasterwork, timber panelling and furniture, Art Nouveaux enrichment and Classically derived treatment with sparing use of Australian decorative motifs are contributory elements. Exterior .elements of note include the remains of the original design prepared by Sydney Smith and the clock tower and portico which have come to symbolise important Municipal complexes erected prior to the Second World War. The complex is socially important (Criterion G) for the value placed on it by the community which has made use of it for activities including that of Local government for well over a century.Page 74 of Photograph Album with four photographs (three portrait and one landscape) of different views of the Caulfield Town Hall.Hand written: Caulfield Town Hall cnr Hawthorn & Glen Eira Rds [top right] / 74 [bottom right] trevor hart, caulfield, glen eira, caulfield town hall, sydney smith, sydney w smith, municipal, adamesque plasterwork, adamesque, art nouveaux, portico, council chambers, alexander rankin, foyer, local government, timber panelling, tower, unemployment, clock tower, hawthorn road, glen eira road, city of glen eira, municipal offices, post and telegraph office, goldsmith and jenkin, courthouses, surveyors, architects, classical architectural style, streetscapes, gardens, cars, glen eira town hall, depression 1929-1939

Melbourne Water inherited many of its water assets, such as reservoirs from its predecessor the Melbourne Metropolitan Board of Works (MMBW). They have served the organisation well and have long been celebrated for both their natural beauty and engineering ingenuity. In the nineteenth century Victoria’s fundamental need for water infrastructure went beyond merely functional solutions and reflected the English ideal of the romance and beauty that was embodied in expanses of water. The MMBW further enhanced this notion by incorporating beauty and function in to the Classical and Italianate designs of its infrastructure such as pumping houses and reservoir outlet towers. The reservoir gardens and picnic areas were landscaped with ornamental stonework, exotic trees, decorative flower beds, fern glades pools and rose gardens. All features of the water supply system became widely celebrated as beauty spots that continue to be very popular to this day with tourists and locals alike. This souvenir is a product of that flourishing tourist trade. These water supply sites continue to enhance Melbourne’s charm and liveability and are now recognised as places of cultural and historic significance. This souvenir item has been curated by Melbourne Water as it represents an important historical aspect of the organisation by demonstrating the popularity of its water asset sites as recreational places and tourist attractions, and although these sites are functional parts of the water supply system, they were also designed to be enjoyed by the public both aesthetically and recreationally. Clear glass flower shaped 'depression ware' confectionery bowl, with photographic image of Maroondah Reservoir outlet tower on basemelbourne metropolitan board of works, mmbw, maroondah reservoir, melbourne water, scenic view, souvenir, glass bowl

Melbourne Water inherited many of its water assets, such as reservoirs from its predecessor the Melbourne Metropolitan Board of Works (MMBW). They have served the organisation well and have long been celebrated for both their natural beauty and engineering ingenuity. In the nineteenth century Victoria’s fundamental need for water infrastructure went beyond merely functional solutions and reflected the English ideal of the romance and beauty that was embodied in expanses of water. The MMBW further enhanced this notion by incorporating beauty and function in to the Classical and Italianate designs of its infrastructure such as pumping houses and reservoir outlet towers. The reservoir gardens and picnic areas were landscaped with ornamental stonework, exotic trees, decorative flower beds, fern glads pools and rose gardens. All features of the water supply system became widely celebrated as beauty spots that continue to be very popular to this day with tourists and locals alike. This souvenir is a product of that flourishing tourist trade. These water supply sites continue to enhance Melbourne’s charm and liveability and are now recognised as places of cultural and historic significance. This souvenir item has been curated by Melbourne Water as it represents an important historical aspect of the organisation by demonstrating the popularity of its water asset sites as recreational places and tourist attractions, and although these sites are functional parts of the water supply system, they were also designed to be enjoyed by the public both aesthetically and recreationally. Blue enamel and metal lapel pin/brooch depicting Maroondah Reservoir and outlet tower. Oval shaped with words 'Maroondah Dam' at the top and a ribbon banner containing 'Healesville' at the bottom. Maroondah Dam. Healesvillemelbourne metropolitan board of works, mmbw, maroondah reservoir, melbourne water, scenic view, souvenir, lapel pin, brooch

Melbourne Water inherited many of its water assets, such as reservoirs from its predecessor the Melbourne Metropolitan Board of Works (MMBW). They have served the organisation well and have long been celebrated for both their natural beauty and engineering ingenuity. In the nineteenth century Victoria’s fundamental need for water infrastructure went beyond merely functional solutions and reflected the English ideal of the romance and beauty that was embodied in expanses of water. The MMBW further enhanced this notion by incorporating beauty and function in to the Classical and Italianate designs of its infrastructure such as pumping houses and reservoir outlet towers. The reservoir gardens and picnic areas were landscaped with ornamental stonework, exotic trees, decorative flower beds, fern glads pools and rose gardens. All features of the water supply system became widely celebrated as beauty spots that continue to be very popular to this day with tourists and locals alike. This souvenir is a product of that flourishing tourist trade. These water supply sites continue to enhance Melbourne’s charm and liveability and are now recognised as places of cultural and historic significance This souvenir item has been curated by Melbourne Water as it represents an important historical aspect of the organisation by demonstrating the popularity of its water asset sites as recreational places and tourist attractions, and although these sites are functional parts of the water supply system, they were also designed to be enjoyed by the public both aesthetically and recreationally. Tea caddy spoon with clock face engraved showing 4pm on round spoon, tea pot shaped handle with enamel scenic view badge saying 'Healesville' ( depicting Maroondah Reservoir outlet tower). Tea caddy spoon box labelled 'Fine Silverware by Stokes'Stokes and Sons Stokes & Sons logo (Star with S and boomerang) EG. No. 15733melbourne metropolitan board of works, mmbw, maroondah reservoir, melbourne water, scenic view, souvenir, tea caddy spoon

George Lansell was persuaded to begin investing in the newly forming mining companies of Bendigo, from 1855. His first investments failed, he lost money, and refocused on his original businesses. In 1865 George re-entered mining and with substantial investment was able to dictate the mining practices of his companies. His approach, of mining ever deeper than had been reached before, was so successful that he became known as the Quartz King of Bendigo. He soon became a millionaire. For a time, he may have been the richest man in the world. In 1871 Lansell purchased the Ballerstedt mines, equipment, machinery and mansion from the now deceased Christopher’s son, for 30,000 pounds. Although this was a large sum for the times, it demonstrated Lansell’s sound judgement: under his direction, the 180 Mine was extended down to over 3000 feet, becoming the deepest mine in the southern hemisphere at the time. By 1889, it was estimated that Ballerstadt and Lansell, over the time of the mine’s operation, had taken out at least a million pounds worth of gold from it. Mr. Lansell returned to England in about 1882 and took up his residence in Surrey, just across the river from London. There, when in his sixtieth year, he married Miss Edith Bassford, who was of English birth, but who was reared in Bendigo, where he first met her and her family. After a residence of seven years in Surrey Mr. Lansell and family returned to Bendigo, having been requested to do so by many leading citizens, who felt that it needed his presence and energy to keep mining in quartzopolis on the up grade. He was heartily welcomed by them on his return. Since then he has lived a quiet, uneventful life at his beautiful residence, "Fortuna." George Lansell travelled extensively, from the 1870’s, and extended his Fortuna Villa residence greatly, embellishing it as his fancy was inspired by his travels. Likewise it was filled with unusual items acquired on those travels. The surrounds did not miss out, being extensively landscaped and developed with features like ornamental lakes, a classical fountain, enclosed Roman style baths.Fortuna Articles - Photo of George Lansell's residence in England This item contains the following document: 11217.66a Black and white Photo Print of George Lansell's residence in England 10 x 8 inches, on rear of photo is written "George Lansell's Residence in England between 1881 and 1887 11217.66b Black and white Negative of George Lansell's residence in England 10 x 8 inches - Contact BHS for detailsnon-fictionbendigo, fortuna, george lansell, edith lansell, edith bassford

Theodore Ballerstedt originally purchased the Fortuna site from the Crown in 1857. The firstimprovements at Fortuna were undertaken by the Ballerstedt family and consisted of a small mill and house. At the peak of the mining era (c.1860s) Fortuna was central to the deep alluvial gold mining operations of Bendigo. In 1871 Theodore Ballerstedt sold the house, mine and associated works to George Lansell 'The Quartz King'. During his time at Fortuna, Lansell owned 13 mines and directed a further 73 in Bendigo. The primary building on the site is the Fortuna Villa. With the wealth Lansell generated from gold mining he funded the continuous expansion of the Villa and surrounding grounds. The Villa is built in a number of architectural styles, namely Victorian Italianate and Victorian Free Classical, with Federation influences. The surrounding landscape featured up to seven decorative lakes in the early 1870s, including one larger lake which still remains today. The former lakes were originally used as disposal points for tailings produced in the gold processing activities at the site. Heritage investigations note that the uniqueness of Fortuna lies in the mixture of architectural styles of the Villa. The relationship between mining and domestic areas and the. close proximity of the two is considered rare to Australian domestic building of that time.Fortuna - Photos (Photo-copies) of Furnished Rooms This item contains the following 12 documents: 11217.76a Black and White photo of the Gymnasium, a man standing between the horizontal bars and another behind sitting on the exercise bench 11217.76b Black and White photo of a living room with chairs and small table 11217.76c Black and White photo of the conservatory with pot plants 11217.76d Black and White photo of a music room with piano, chairs and a coffee table 11217.76e Black and White photo of a bedroom with sofa, chair and iron framed bed 11217.76f Black and White photo of the games room complete with Billiard Table 11217.76g Black and White photo of the living room, the walls adorned with painting and photographs 11217.76h Black and White photo of the family bedroom, with a child's bed and a large four-poseter with curtains 11217.76i Black and White photo of possibly the function or ballroom 11217.76j Black and White photo of a small room or elcove for quiet conversations 11217.76k Black and White photo of the staircase and statue 11217.76l Black and White photo of the conservatorynon-fictionbendigo, fortuna, george lansell, fortuna furnishings

Theodore Ballerstedt originally purchased the Fortuna site from the Crown in 1857. The firstimprovements at Fortuna were undertaken by the Ballerstedt family and consisted of a small mill and house. At the peak of the mining era (c.1860s) Fortuna was central to the deep alluvial gold mining operations of Bendigo. In 1871 Theodore Ballerstedt sold the house, mine and associated works to George Lansell 'The Quartz King'. During his time at Fortuna, Lansell owned 13 mines and directed a further 73 in Bendigo. Fortuna was occupied by the Department of Defence from 1942 and was compulsorily acquired for Army use in 1957. Since that time Fortuna has been occupied by the Army and other various Defence organisations. During Defence's ownership, additional buildings were constructed and existing buildings were modified for re-use. In 1992 Defence purchased the adjoining undeveloped property, commonly known as the Bush Block. This parcel of land adjoins the main Fortuna landholding. It is approximately 0.8 hectares in size and is predominately covered in vegetation regrowth. Heritage investigations note that the uniqueness of Fortuna lies in the mixture of architectural styles of the Villa. The relationship between mining and domestic areas and the. close proximity of the two is considered rare to Australian domestic building of that time. The primary building on the site is the Fortuna Villa. With the wealth Lansell generated from gold mining he funded the continuous expansion of the Villa and surrounding grounds. The Villa is built in a number of architectural styles, namely Victorian Italianate and Victorian Free Classical, with Federation influences. The surrounding landscape featured up to seven decorative lakes in the early 1870s, including one larger lake which still remains today. The former lakes were originally used as disposal points for tailings produced in the gold processing activities at the site. Heritage investigations note that the uniqueness of Fortuna lies in the mixture of architectural styles of the Villa. The relationship between mining and domestic areas and the. close proximity of the two is considered rare to Australian domestic building of that time.Fortuna - Drawing Presented to Brian McLachlon This item contains the following documents: 11217.77a Six copies Black and White drawing by Jason Nickson (cleaner) presented to Brian McLachlon on his transfer to the USA. Drawing shows Brian on a motor bike being farewelled by the Fortuna Villa (holding a baby named DIGO) and welcomed by the Statue of Liberty and the US flagnon-fictionbendigo, fortuna, george lansell, jason nickson fortuna cleaner, brian mclochlon fortuna

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Victorian Heritage Database citation HO40 Craigellachie 2b & 2c Lynedoch Avenue Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/35209 as at (28/10/2020) Craigellachie" is situated at No. 2B Lynedoch Avenue, Caulfield North, and was built for the noted investor, pastoralist and politician, William Pearson, not earlier than 1864 and possible in 1876, undergoing several substantial and contributory extensions during the nineteenth century. It is historically and aesthetically significant. From Victorian Heritage Database citation for HO40 Craigellachie https://vhd.heritagecouncil.vic.gov.au/places/35209 as at (28/10/2020) It is historically significant (Criterion A) as the Melbourne home of William Pearson, MLA, MLC and principal shareholder in Walhalla's Long Tunnel Extended Gold Mining Co. which sustained the township well past the turn of the twentieth century and occupied fifth place amongst Victoria's richest mines. It is aesthetically significant (Criterion E) for its capacity to demonstrate Pearson's continuing financial success throughout the mid to late nineteenth century, the additions associated with the tower being most noteworthy as an example of the lasting appeal of the Italian Style, popularized in the pattern books of the day. The Ailanthus altissima (Tree of Heaven) is significant as an outstanding example of a species that is rare in cultivation, as well as for its very high aesthetic value. The Araucaria bidwilli is notable as a fine example of a species infrequently planted in Melbourne and rarely found in private suburban gardens.Page 156 of Photograph Album with four landscape photographs of Craigellachie - near views of architectural features. Handwritten: "Craigellachie" 273 Orrong Road [top right] / 156 [bottom right]trevor hart, verandah, orrong road, tower, curved windows, decorative brackets, italianate, mansion, 1870's, william pearson, inkerman street, apartments, spire, decorative plaster work, rendered walls, ornamentation, arched windows, moulded ornaments, 1860's, lynedoch avenue, classical style, caulfield north, craigellachie, cast iron work, victorian style, balaclava, st kilda east, gardens, ailanthus altissima, araucaria bidwilli, porches, trees

Jeff WOODGER Born Melbourne, Victoria Jeff studied art at La Trobe University in 1986, and a Graduate Diploma in teaching in 1989. He worked as a teacher from 1990 to 1998. In 1994 Jeff was awarded a Master of Arts from La Trobe University. He then studied at the prestigious Slade School, London and the National Gallery of Art in Washington D.C. Jeff Woodger completed a Doctor of Philosophy (Fine Art) at University of Ballarat (now Federation University) in 2006. This work was part of the exhibition assessment for this study. Jeff Woodger has lived and worked in Japan regularly since 1994. His passion is to paint post romantic landscapes in the classical style which are deeply inspired by many of the seventeenth century greats such as Claude Lorraine and Salvator Rosa. 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. 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.Framed oil on paper landscape with river in the foreground.art, artwork, jeff woodger, alumni, landscape, available

Jeff WOODGER Born Melbourne, Victoria Jeff studied art at La Trobe University in 1986, and a Graduate Diploma in teaching in 1989. He worked as a teacher from 1990 to 1998. In 1994 Jeff was awarded a Master of Arts from La Trobe University. He then studied at the prestigious Slade School, London and the National Gallery of Art in Washington D.C. Jeff Woodger completed a Doctor of Philosophy (Fine Art) at University of Ballarat (now Federation University) in 2006. This work was part of the exhibition assessment for this study. Jeff Woodger has lived and worked in Japan regularly since 1994. His passion is to paint post romantic landscapes in the classical style which are deeply inspired by many of the seventeenth century greats such as Claude Lorraine and Salvator Rosa. 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.art, artwork, clunes, landscape, artist, jeff woodger, alumni

‘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)

Part of a collection of historic wallpapers collected by Phyllis Murphy, most of whose wallpapers were donated to the collection of Historic Houses Sydney. This wallpaper sample, annotated and encased in mylar was used by Phyllis for educational purposes, and donated by her son to Villa Alba Museum's collection in 2025.Scenic landscape featuring stylized boats with deep red sails gliding past stone pine trees, silhouetted against a serene pink and mint background. Classic early 20th century Arts and Crafts movement style. Friezes were popular around this time, usually hung above a plain paper or panelling. heritage interiors, wallpapers, 20th century design, decorative arts & design, classical friezes

Chinese sleeve embroidery bands, or wanxiu became popular in the late 19th century during the Qing Dynasty, evolving from the traditional Han cuff embroidery and Manchu styles. These detachable, decorated bands were added to women's informal jackets and robes, often featuring symbolic motifs like landscapes, flowers, and auspicious symbols. They served both a decorative function, displaying artistic skill and personal wishes, and a practical one by covering the sleeves when hands were folded at the waist. History and evolution: Origins: The practice of embroidering cuffs on robes existed during the previous Ming Dynasty for Han women, and this was adopted by the Manchu rulers who founded the Qing Dynasty. Qing Dynasty (1644-1911): The practice was popularized and elaborated upon during this era, with detachable bands becoming a fashionable element for informal wear. Symbolism: The embroidery included a complex visual vocabulary of wishes for a long life, many offspring, and a happy marriage, derived from nature, mythology, and classical literature. Functionality: Women would fold their arms, often with their hands inside the sleeves, so the embroidered bands, which were sewn to hang down the back of the jacket, would be displayed prominently down the front. 19th century peak: The late 19th century was the peak of their popularity, with intricate designs becoming fashionable and even influenced by court tastes, such as those favoured by the Empress Dowager Cixi. Later developments: The late 19th century saw the introduction of chemical 'aniline' dyes from Europe, leading to brighter, bolder colours in embroidery. Motifs and their Meanings: Auspicious symbols: Designs often included symbols for good fortune, wealth, and longevity. Natural imagery: Birds, flowers, and landscapes were common motifs that could represent natural beauty or convey specific symbolic meanings. Figurative scenes: Bands could also feature narrative scenes from classical stories or legends. The choice of motifs allowed women to express personal desires, cultural values, and aesthetic preferences, reflecting a more personal and informal style than official court attire.Two sleeve bands. Embroidered in coloured silk and gold metal thread. Motifs of lotus flowers, birds, swastikas and other flowers. Mostly satin stitch.embroidery, silk embroidery, japan, oriental, sleeve bands, garments

Chinese sleeve embroidery bands, or wanxiu became popular in the late 19th century during the Qing Dynasty, evolving from the traditional Han cuff embroidery and Manchu styles. These detachable, decorated bands were added to women's informal jackets and robes, often featuring symbolic motifs like landscapes, flowers, and auspicious symbols. They served both a decorative function, displaying artistic skill and personal wishes, and a practical one by covering the sleeves when hands were folded at the waist. History and evolution: Origins: The practice of embroidering cuffs on robes existed during the previous Ming Dynasty for Han women, and this was adopted by the Manchu rulers who founded the Qing Dynasty. Qing Dynasty (1644-1911): The practice was popularized and elaborated upon during this era, with detachable bands becoming a fashionable element for informal wear. Symbolism: The embroidery included a complex visual vocabulary of wishes for a long life, many offspring, and a happy marriage, derived from nature, mythology, and classical literature. Functionality: Women would fold their arms, often with their hands inside the sleeves, so the embroidered bands, which were sewn to hang down the back of the jacket, would be displayed prominently down the front. 19th century peak: The late 19th century was the peak of their popularity, with intricate designs becoming fashionable and even influenced by court tastes, such as those favoured by the Empress Dowager Cixi. Later developments: The late 19th century saw the introduction of chemical 'aniline' dyes from Europe, leading to brighter, bolder colours in embroidery. Motifs and their Meanings: Auspicious symbols: Designs often included symbols for good fortune, wealth, and longevity. Natural imagery: Birds, flowers, and landscapes were common motifs that could represent natural beauty or convey specific symbolic meanings. Figurative scenes: Bands could also feature narrative scenes from classical stories or legends. The choice of motifs allowed women to express personal desires, cultural values, and aesthetic preferences, reflecting a more personal and informal style than official court attire.Pair of rich blue silk (figured) bands, 66 cm of which is heavily embroidered in couched gold metal threads in a swirling pattern, with coloured silk birds (18). There is a gold spray (floral) at the base of each band.embroidery, garments, silk embroidery, metal thread, chinese

Purchased in Singapore circa 1920 and believed to be old then. Never been worn. Chinese sleeve embroidery bands, or wanxiu became popular in the late 19th century during the Qing Dynasty, evolving from the traditional Han cuff embroidery and Manchu styles. These detachable, decorated bands were added to women's informal jackets and robes, often featuring symbolic motifs like landscapes, flowers, and auspicious symbols. They served both a decorative function, displaying artistic skill and personal wishes, and a practical one by covering the sleeves when hands were folded at the waist. History and evolution: Origins: The practice of embroidering cuffs on robes existed during the previous Ming Dynasty for Han women, and this was adopted by the Manchu rulers who founded the Qing Dynasty. Qing Dynasty (1644-1911): The practice was popularized and elaborated upon during this era, with detachable bands becoming a fashionable element for informal wear. Symbolism: The embroidery included a complex visual vocabulary of wishes for a long life, many offspring, and a happy marriage, derived from nature, mythology, and classical literature. Functionality: Women would fold their arms, often with their hands inside the sleeves, so the embroidered bands, which were sewn to hang down the back of the jacket, would be displayed prominently down the front. 19th century peak: The late 19th century was the peak of their popularity, with intricate designs becoming fashionable and even influenced by court tastes, such as those favoured by the Empress Dowager Cixi. Later developments: The late 19th century saw the introduction of chemical 'aniline' dyes from Europe, leading to brighter, bolder colours in embroidery. Motifs and their Meanings: Auspicious symbols: Designs often included symbols for good fortune, wealth, and longevity. Natural imagery: Birds, flowers, and landscapes were common motifs that could represent natural beauty or convey specific symbolic meanings. Figurative scenes: Bands could also feature narrative scenes from classical stories or legends. The choice of motifs allowed women to express personal desires, cultural values, and aesthetic preferences, reflecting a more personal and informal style than official court attire.A pair of sleeve bands. Embroidered in gold metallic thread on blue silk fabric in a pattern of peonies, bats and other auspicious symbols.embroidery, metal thread, embroidery, garments, japan

Chinese sleeve embroidery bands, or wanxiu became popular in the late 19th century during the Qing Dynasty, evolving from the traditional Han cuff embroidery and Manchu styles. These detachable, decorated bands were added to women's informal jackets and robes, often featuring symbolic motifs like landscapes, flowers, and auspicious symbols. They served both a decorative function, displaying artistic skill and personal wishes, and a practical one by covering the sleeves when hands were folded at the waist. History and evolution: Origins: The practice of embroidering cuffs on robes existed during the previous Ming Dynasty for Han women, and this was adopted by the Manchu rulers who founded the Qing Dynasty. Qing Dynasty (1644-1911): The practice was popularized and elaborated upon during this era, with detachable bands becoming a fashionable element for informal wear. Symbolism: The embroidery included a complex visual vocabulary of wishes for a long life, many offspring, and a happy marriage, derived from nature, mythology, and classical literature. Functionality: Women would fold their arms, often with their hands inside the sleeves, so the embroidered bands, which were sewn to hang down the back of the jacket, would be displayed prominently down the front. 19th century peak: The late 19th century was the peak of their popularity, with intricate designs becoming fashionable and even influenced by court tastes, such as those favoured by the Empress Dowager Cixi. Later developments: The late 19th century saw the introduction of chemical 'aniline' dyes from Europe, leading to brighter, bolder colours in embroidery. Motifs and their Meanings: Auspicious symbols: Designs often included symbols for good fortune, wealth, and longevity. Natural imagery: Birds, flowers, and landscapes were common motifs that could represent natural beauty or convey specific symbolic meanings. Figurative scenes: Bands could also feature narrative scenes from classical stories or legends. The choice of motifs allowed women to express personal desires, cultural values, and aesthetic preferences, reflecting a more personal and informal style than official court attire.Sleeve band of grey brocade silk, embroidered design of peonies, and butterflies in coloured silk thread in Pekin knot stitch. Flowers are outlined in cream crinkle cord. china, late 19th century, silk, sleeve band, flower, peony, butterfly

Chinese sleeve embroidery bands, or wanxiu became popular in the late 19th century during the Qing Dynasty, evolving from the traditional Han cuff embroidery and Manchu styles. These detachable, decorated bands were added to women's informal jackets and robes, often featuring symbolic motifs like landscapes, flowers, and auspicious symbols. They served both a decorative function, displaying artistic skill and personal wishes, and a practical one by covering the sleeves when hands were folded at the waist. History and evolution: Origins: The practice of embroidering cuffs on robes existed during the previous Ming Dynasty for Han women, and this was adopted by the Manchu rulers who founded the Qing Dynasty. Qing Dynasty (1644-1911): The practice was popularized and elaborated upon during this era, with detachable bands becoming a fashionable element for informal wear. Symbolism: The embroidery included a complex visual vocabulary of wishes for a long life, many offspring, and a happy marriage, derived from nature, mythology, and classical literature. Functionality: Women would fold their arms, often with their hands inside the sleeves, so the embroidered bands, which were sewn to hang down the back of the jacket, would be displayed prominently down the front. 19th century peak: The late 19th century was the peak of their popularity, with intricate designs becoming fashionable and even influenced by court tastes, such as those favoured by the Empress Dowager Cixi. Later developments: The late 19th century saw the introduction of chemical 'aniline' dyes from Europe, leading to brighter, bolder colours in embroidery. Motifs and their Meanings: Auspicious symbols: Designs often included symbols for good fortune, wealth, and longevity. Natural imagery: Birds, flowers, and landscapes were common motifs that could represent natural beauty or convey specific symbolic meanings. Figurative scenes: Bands could also feature narrative scenes from classical stories or legends. The choice of motifs allowed women to express personal desires, cultural values, and aesthetic preferences, reflecting a more personal and informal style than official court attire.Pale green brocade with Pekin knot stitch in blue, green, cream and brown. Large heads and the phoenix used in the design. Gold thread couched with cream thread.embroidery, garments, silk embroidery, oriental, china

Chinese sleeve embroidery bands, or wanxiu became popular in the late 19th century during the Qing Dynasty, evolving from the traditional Han cuff embroidery and Manchu styles. These detachable, decorated bands were added to women's informal jackets and robes, often featuring symbolic motifs like landscapes, flowers, and auspicious symbols. They served both a decorative function, displaying artistic skill and personal wishes, and a practical one by covering the sleeves when hands were folded at the waist. History and evolution: Origins: The practice of embroidering cuffs on robes existed during the previous Ming Dynasty for Han women, and this was adopted by the Manchu rulers who founded the Qing Dynasty. Qing Dynasty (1644-1911): The practice was popularized and elaborated upon during this era, with detachable bands becoming a fashionable element for informal wear. Symbolism: The embroidery included a complex visual vocabulary of wishes for a long life, many offspring, and a happy marriage, derived from nature, mythology, and classical literature. Functionality: Women would fold their arms, often with their hands inside the sleeves, so the embroidered bands, which were sewn to hang down the back of the jacket, would be displayed prominently down the front. 19th century peak: The late 19th century was the peak of their popularity, with intricate designs becoming fashionable and even influenced by court tastes, such as those favoured by the Empress Dowager Cixi. Later developments: The late 19th century saw the introduction of chemical 'aniline' dyes from Europe, leading to brighter, bolder colours in embroidery. Motifs and their Meanings: Auspicious symbols: Designs often included symbols for good fortune, wealth, and longevity. Natural imagery: Birds, flowers, and landscapes were common motifs that could represent natural beauty or convey specific symbolic meanings. Figurative scenes: Bands could also feature narrative scenes from classical stories or legends. The choice of motifs allowed women to express personal desires, cultural values, and aesthetic preferences, reflecting a more personal and informal style than official court attire.Yellow silk satin, silk embroidery depicting birds and flowers in bright blues, greens, mauve, orange and pinks.embroidery, garments, silk embroidery, china, late 19th century, flowers, garden, bird

Chinese sleeve embroidery bands, or wanxiu became popular in the late 19th century during the Qing Dynasty, evolving from the traditional Han cuff embroidery and Manchu styles. These detachable, decorated bands were added to women's informal jackets and robes, often featuring symbolic motifs like landscapes, flowers, and auspicious symbols. They served both a decorative function, displaying artistic skill and personal wishes, and a practical one by covering the sleeves when hands were folded at the waist. History and evolution: Origins: The practice of embroidering cuffs on robes existed during the previous Ming Dynasty for Han women, and this was adopted by the Manchu rulers who founded the Qing Dynasty. Qing Dynasty (1644-1911): The practice was popularized and elaborated upon during this era, with detachable bands becoming a fashionable element for informal wear. Symbolism: The embroidery included a complex visual vocabulary of wishes for a long life, many offspring, and a happy marriage, derived from nature, mythology, and classical literature. Functionality: Women would fold their arms, often with their hands inside the sleeves, so the embroidered bands, which were sewn to hang down the back of the jacket, would be displayed prominently down the front. 19th century peak: The late 19th century was the peak of their popularity, with intricate designs becoming fashionable and even influenced by court tastes, such as those favoured by the Empress Dowager Cixi. Later developments: The late 19th century saw the introduction of chemical 'aniline' dyes from Europe, leading to brighter, bolder colours in embroidery. Motifs and their Meanings: Auspicious symbols: Designs often included symbols for good fortune, wealth, and longevity. Natural imagery: Birds, flowers, and landscapes were common motifs that could represent natural beauty or convey specific symbolic meanings. Figurative scenes: Bands could also feature narrative scenes from classical stories or legends. The choice of motifs allowed women to express personal desires, cultural values, and aesthetic preferences, reflecting a more personal and informal style than official court attire.Cream satin, silk embroidery in Pekin knot stitch. Fine couched cord. Rural setting with figures, trees and pagoda.embroidery, garments, silk embroidery, china, garden, figures, lanscape