Early photo of Stawell Shire Hall with decorative cast iron fence and 2 pillars either side of the gate entrance. The photos show the detail of the original building built in 1866 especially the doors and windows. The photo may have been taken in 1917-1918.Black & white early photo of Stawell Shire Hall. There is a total of 3 black & white photo's, two the same size and one enlarged. The photo has been taken directly out the front of the building showing the cast iron decorative fence with manicured shrubs out the front of the building. The photo is very similar to 84.6 but does not have the flag post on top of the building. Almost identical to 84.6 angle slightly different, no flag pole. stawell

Gift of the artist, 2002

Photograph. Copy of a coloured photograph of a headstone surrounded by a cast iron fence.photograph, landscape, cast iron fence at cemetery

Photograph. Copy of a coloured photograph of a section of cast iron fence at Bendigo Cemetery.photograph, landscape, cast iron fence at cemetery

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Black and white photograph of a man in a light coloured suit, leaning against a wrought iron fence with pine trees in the background. Beside him is a briefcase. The man is Frank Wright.frank wright, cornet, conductor, ballarat, st hilda's band, wrought iron fence

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Black and white photograph of two men in three piece suits (one dark, one light with a hat), standing on the footpath in front of a building with a cast iron fence. The men are E.N. Wright and Frank Wright.Written in pen on the back - E.N.Wright (left), Frank Wright (right), Sydney (Easter 1923), Taken by Alex Wright (Au)frank wright, alex wright, e.n.wright, cornet, ballarat, cast iron fence

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.

Maritimo was built by William H Croker, a local Williamstown solicitor in 1885, and was demolished in 1993, the original wrought iron fence remainsMaritimo was an important local building and landmark, sent in extensive grounds, which was demolished despite local efforts to stop its destructionColour photograph of Maritimo on The Strand, Williamstown. Ornate two storey red brick mansion with square tower on left and tall central chimney. Wrought iron fence with entrance gates to driveway and five pillars.

The Rupertswood Gatehouse, iron fence and gates are of state historical and architectural importance as they are probably the most distinctive structures of their type in Victoria.A coloured photograph of the Rupertswood Lodge, iron fence and gates. At the gateway there are double gates and two single gates on either side. The four gateposts are stone with a decorative finish on the top. The double gates are open so the roadway into the Rupertswood estate is visible.clarke, william john (sir), rupertswood gatehouse, salesian college, george evans collection

Front view of Stawell Shire Hall in Longford Street with wrought iron fence and 1920's motor vehicle parked outside. The photograph taken in 1949 was donated by Mr. F. M. Mortyn who was Secretary of the Stawell Shire from 1947 - 1960. A small black & white photo of the Stawell Shire Hall with its brick facade with a parapet top. The entrance doorway in the centre with windows each side. In front a wrought iron fence. The gate of the fence is painted white. A 1920's motor vehicle is parked out the front to the right of the Shire Hall. Stawell Shire Hall 1949.stawell

Colour photographs of a metal fence on Ballarat by W. Blomely foundry.w. blomeley, iron fence

The interviews were recorded in 2000 by Bronwen Gray and Alan Young for the production of Unreserved, Stories from Truganina Explosives Reserve, animated stories from past residents, workers and interested people of the Reserve (subject to copyright 2004). Doug and Noel Grant’s Grandfather, Don Grant, was officer in charge of Truganina Explosives Reserve from 1910-1930. On his retirement, his son, William (known as Bill) took over the position until 1956. Along with their two older brothers and younger sister, Doug and Noel Grant grew up, first in the assistant manager’s weatherboard cottage and then in the brick house which was set aside for the officer in charge, until they married and moved into their own homes in their early 1920s. On returning from the second world war, Noel Grant worked as a magazine assistant of explosives on the site from 1946, When the site had closed down in 1962 he worked as an inspector of explosives at the Explosives Branch in Melbourne until he retired in 1985. During that time Noel was asked to move back on site, meaning that three generations of Grants have lived on the site during the twentieth century. Doug Grant worked for ICI/Nobel in head office in 1940 and their older brother Alan worked at the Nobel Explosive Company in Deer Park from 1937. After returning from the Second World War, Alan bought a transport business that had once had the licence to cart explosives in and around the state. They discuss their memories of the living at Truganina Explosives Reserve and the workings of the Reserve, including the names of men who worked there, ships which carried the explosives and life in and around Altona. A primary source of information on memories of the Truganina Explosives Reserve and Altona,VictoriaDigital copy of original cassette recorded in 2000 and digitised in 2018hobsons bay, altona, galvanised iron fence, picket fence, golf course, altona school, margaret grant, bill grant, explosives magazine, lighters, joe hyde, alex grant, pines scout camp, maribynong river, 1896, inspector of explosives, pier, point wilson, werribee sewerage farm, george grant, lighterman, huia, argonaut, pirie, alma doepel, merton street altona, horse, jessie grant, jean grant, sandal, kilmartin, lewis, currie, todd, robinson, balwyn

A black and white photograph of a man dressed in a white dust coat, and carrying a baby. He is standing in front of a corrugated iron fence. There are some cloth nappies hanging on a line behind the fence. Advertising signage (indistinct) can also be seen on the wall behind the fence. Mr Donald Hartley Rowe was born in 1876; married Mary Gibson in 1901 and died in Surrey Hills in 1958. In 1935 his daughter Winifred (1903-1985) married Phillip Sebastien Slavin (1907-1980), known as Paddy, who took over the business. He is first listed at 118 Union Road (no occupation noted) in the electoral roll of 1937 through until 1963. Peter Donald Slavin died in Kew in 1936.A black and white photograph of a man dressed in a white dust coat, and carrying a baby. He is standing in front of a corrugated iron fence. There are some cloth nappies hanging on a line behind the fence. Advertising signage (indistinct) can also be seen on the wall behind the fence.stirling crescent, surrey hills, union road, (mr) peter donald slavin, (mrs) winifred slavin, (miss) winifred rowe, (mr) phillip sebastien slavin, (mr) donald hartley rowe, (mrs) winifred rowe

Hand forged iron fence around the Ellen Smith headstone.vaughan, vaughan cemetery, forged ironwork, cemetery art, ellen smith

Hand forged iron fence around the Ellen Smith headstone.vaughan, vaughan cemetery, forged ironwork, cemetery art

Hand forged iron fence around the Ellen Smith headstone.vaughan, vaughan cemetery, forged ironwork, cemetery art

Hand forged iron fence around a grave in Vaughan Cemetery.vaughan, vaughan cemetery, forged ironwork, cemetery art

Hand forged iron fence around a grave in Vaughan Cemetery.vaughan, vaughan cemetery, forged ironwork, cemetery art

Hand forged iron fence around a grave in Vaughan Cemetery.vaughan, vaughan cemetery, forged ironwork, cemetery art

Hand forged iron fence around a grave in Vaughan Cemetery.vaughan, vaughan cemetery, forged ironwork, cemetery art

Hand forged iron fence around a grave in Vaughan Cemetery.vaughan, vaughan cemetery, forged ironwork, cemetery art

Hand forged iron fence around a grave in Vaughan Cemetery.vaughan, vaughan cemetery, forged ironwork, cemetery art

Hand forged iron fence around a grave in Vaughan Cemetery.vaughan, vaughan cemetery, forged ironwork, cemetery art