Photographs show various machinery, sheaves and cables inside the Toorak Rd Engine House. The photographs appear not to be original but photographs of photographs.Yields information about the interior of a cable engine house Black and white photographs, some with note below photo or on rear. Printed below image or written with biro on rear: "Prahran" or "Toorak Cable"boiler, sheave, cable, tension carriage

Photo of the interior of an engine house showing the tension wheels for three different cables. See page 76 of Mind The Curve by Keating, showing the cable tensioning arrangements. Based on a review of the window arrangements, it is believed to be the Nicholson Street and Gertrude Street winding house. See attached email.Yields information about the interior of a engine house powering three separate cables.Black and white print with a plain backtrams, tramways, cable trams, engine houses, power house, winding house, gertrude st

Photograph by Darge Photo studios with a Collins Street address and telephone number, shows the interior of an unknown Melbourne cable tram engine house or winding house. Shows the drive mechanisms, tension adjustment, steam engine and possibly an auxiliary electric drive.Yields information about the interior engineering arrangements of a winding house.Block mounted black and white photograph onto dark grey card, stamped with studio name in gold.tramways, william st, cable trams, interior, engine house, winding house

Shows the interior of the cable tram engine house that was located on the corner of Gertrude Street and Nicholson Street in Fitzroy. Shows the steam pipes to two of the engine cylinders, the control equipment, and large cable winding wheels. An MMTB poster titled Melbourne Tramways Past and President (see Reg Item 6368), captions the photo as "Nicholson Sreet Power House - the last to operate" The facility ceased operation in 1940 though the equipment was retained until 1941. Yields information about the interior of the Gertrude Street or Nicholson Street cable tram engine houseBlack and white photograph - interior of the Engine house on the corner of Gertrude and Nicholson Streets prior to closure in 1940.tramways, trams, coburg, cable cars, engine house, nicholson street, gertrude street, steam engines

Photo of the interior of the South Melbourne car house or depot. Has trailers 514 and 504 in the view. Shows the wooden structure of the depot. Could have been taken at the same time as 5061, 6/5/1937, or after the closure of the Port and South Melbourne cable lines.Yields information about the interior of the South Melbourne car house or depot.Negative of the interior of South Melbourne depot and Black and white print with notes on the rear.On rear in ink "Old South Melbourne cable tram depot. Photo taken about May 1937. 514 on left, 504 on right. Photo by Wal Larsen." and number "155" in top right hand corner in pencil.trams, tramways, cable trams, south melbourne depot, interiors, tram 514

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

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

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

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

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

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

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

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

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

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

Interior of Pleasant Creek Court House after being refurnished for Stawell Historical Society.stawell

Interior of the Power House Sloane Street. Electric Power Supply for the town of Stawell.stawell electricity power

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (dark image) detailing the interior of Clifton Pugh's house at Dunmoochin. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, interior, house, lithograph

Black and white photo of interior of househouses

Black and white photo of interior of househouses

Black and white photo of interior of house - Toilet.houses -interior

Colored photograph of interior showing portions of five photographs on wall behind two chairs and jug containing gum leaves and flags. Central frame is gold coloured. Inscriptions: on back - 'Australia Day Celebrations, Dudley House, 1993', 'Agfa, quality paper, made in Germany', 'snap 1607 NNNA'buildings, dudley house

Colour photo: interior of house showing kitchen and dining. Brown tile floor in kitchen, brown cupboards, white laminex top. Light tan carpet, brown kitchen setting, ornate backs on chairs, brown flowered curtains. Possibly 1970's. On back of photo 'Aulsebrook & Martin Pty Ltd., Photographers, 6 Ruth Street, Golden Square, 3555. Phone 054 437565bendigo, business, aulsebrook and martin, photographers

This house at 15 Doris Street Greensborough was sold in December 2021 for $1,032,000 by Barry Plant. By August 2022, the home had been demolished for redevelopment. Previous sales: June 2005 - $264,000; January 1994 - $54,000; April 1981 - $31,000. Formerly the home of the Head family. 4 Colour digital photographs of house interior.doris street greensborough, head family

Good, but faded and not a very sharp imagehouse interior., furnishings., period decor., piano and stool.

Excellent condition for a colour printevents. celebrations. bdhs members. court house interior.

Colour slide in a mount. House interior, unknown location, AustraliaMade in Australia / 34 / SEP 62Maustralia, slide, robin boyd

Colour slide in a mount. House interior, unknown location, AustraliaMade in Australia / 2 / JUL 62Maustralia, slide, robin boyd

Saunders house No 391, Lot 10 Overbank Rd, Eltham (incorrectly listed as No. 105) https://alistairknox.org/buildings/334Black and white printalistair knox design, eltham, houses, octagonal house, overbank road

The Sydney Opera House construction began on 2 March 1959. Danish architect Jørn Utzon who had won the competition arrived in Australia with a bronze plaque that can still be seen on the steps today and was placed at the point where the axes of the two halls intersect. Due to problems with the site and construction Utzon resigned and Australian architect Peter Hall took over. The Opera House was completed on 20 October 1973 and has seen many remarkable operatic and musical performances. Currently in 2017 it is undergoing renovations.