Small glass dish, possibly sold as a souvenir of a trip to Greensborough in the days when Greensborough was a popular destination for day-trippers and picnickers.Pressed glass dish, clear glass, with coloured scene of Greensborough."Greensborough" printed on scenedishes, greensborough, souvenirs

Small glass dish with lid, possibly sold as a souvenir of a trip to Greensborough in the days when Greensborough was a popular destination for day-trippers and picnickers.Pressed glass dish with lid, clear glass, with coloured scene of Greensborough on lid."Greensborough" printed on scenedishes, greensborough, souvenirs, jewellery boxes

A team of eight horses being driven by a man to prepare a paddock. In the background another horse is also yoked up to a machine.Black and white photograph of a farming scene in the Wimmera, VictoriiaVerso: Scene in the Wimmera about 1915farm, horse team, agriculture, wimmera c1915, ploughing, farming c1915

This photograph shows a street scene in Cairo.Digital copy of black and white photograph. "Street scene in Cairo" [rest of caption illegible]charles marshall, world war 1

Colourised owl photo postcard entitled;led 'Scene at Kew'. In the background is the Zig-Zag Bridge.Obverse: "Scene at Kew". Reverse: "Zig Zag Bridge adj[acent] Kew Asylum / now demolished / in this era / now called / Donated by Mrs B Challen"bridges - yarra river -- kew (vic.), zig-zag bridge, postcards -- kew (vic.)

Scene from Big HillB/W Big Hill Mining scene c. 1895-1890's : road into drive, whimstawell mining

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.27 / ‘Scene from the Black Spur’ / Albumen silver photograph mounted on boardOn Reverse: ‘The scene which this illustration represents is taken from one of the slopes of the Black Spur Hill, on the Great Dividing Range of Mountains, and is characteristic of the scenery to be found in most parts of the beautiful and romantic districts of Fernshawe and Healesville.’nicholas caire (1837-1918), australia - landscape photography

Scene near Lake Lonsdale 1872 at Rosehill Station (Scoullar and Brinkman) Taken for the Philadelphian Exhibition Similar to Cat No 1309 photo taken by Armstrong 1866Lake Scene with lake and men in punt. Gentleman in top Hat near tree on left.Part of Rosehill Station near Grampians Mountains (Scoullar and Brinkman) Taken for the Philadelphia Exhibition 1872stawell

Original postcard showing a group of about 20 people surveying the scene of the Waggonette Disaster that occurred on the Coach Road at Devils Elbow on 27/12/1911. The accident occurred at Devil's Elbow where now the Old Coach Road and Jasper Road meet at a cliff face. John Lundy-Clarke made a ballad about the mishap. The waggonnette was returning from an excursion to the Brooklyn Guest House in Montrose. The horses were killed and passengers presumably injured (a doctor attended). See 'The Brooklyn Dray"On front of postcard: DEVILS ELBOW MT DANDENONG SCENE OF WAGGONETTE ACCIDENT 27.12.1911wagonette, wagon, accident, disaster, devil's elbow, devils elbow, john lundy-clarke, ballad, coach road, old coach road

Rural Scene – Photo Copy of Will Rees OriginalColour:"A Rural Scene" Sheep grazing in foreground trees two buildings, smaller one has chimney. From the estate of the late Mrs Jean Howardstawell

Postcard view of "Allwood", Hurstbridge, built about 1894 as the second home of the pioneer Hurst family. Frances Hurst married William Gray in 1897. The Grey family would later live in the house. Grey operated Allwood Nurseries.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital imageScene at Hurst Bridgesepp, shire of eltham pioneers photograph collection, hurstbridge, gray homestead, william george gray, allwood, postcard

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.30 / ‘Scene in the Melbourne Botanical Gardens’ / Albumen silver photograph mounted on boardOn Reverse: ‘The Scene of the present illustration is taken from the Hill on the South Yarra side of the Gardens, shewing in the distance the Government Domain. In the centre of the picture a portion of the Lake may be seen. This Lake is of considerable extent, and being surrounded by hills, the slopes of which contain many beautiful Fern Groves and Vistas of the densest foliage, adds greatly to the beauty and picturesqueness of the surrounding scenery.’nicholas caire (1837-1918), australia - landscape photography

This photograph shows a scene from the first play at International House, 'The Teahouse of the August Moon', staged in April-May 1964. The male roles were played by students, and the lead female role by University of Melbourne student Margaret Phua (pictured), as International House was yet to accept female residents. Booking was coordinated by the Ladies' Auxiliaries, and the play was deemed a 'great success', becoming a yearly International House tradition.performing arts, students

.1 - Book - 64 A4 pages - colour covers, titled "Guide to Australian Tourist Railways and Museums 1993", listing all operational railway and tramway museums in Australia at the time. Gives details for each organisation and details of umbrella organisations in each state. Arranged on a State and regional basis. .2 - as above - 100 pages - "Guide to Australian Tourist Railways and Museums 1994". Published by Rail Scene Australia - ARHS NSW and the LRRSAtrams, tramways, railways, tram preservation, museums, arhs

John MITCHELL (1837 - 14 July 1926) Born Woodside, Donside, Scotland John Mitchell attended evening classes under James Giles in Aberdeen, and was also taught by his uncle the Peterhead artist John Mitchell. After an apprenticeship at a local lithographic company (Keith and Gibb) John Mitchell went to London to study at the Slade under Legros. Returning to Aberdeen he painted many scenes around the city and Aberdeenshire, including Balmoral, under the patronage of Queen Victoria. John Mitchell gave lessons in painting to the Royal Family. His landscapes are highly coloured with dominant blues and purples in the hills and with vivid greens and yellows in the foreground, subtly fused and never garish. He lithographed sketches for John Stewart's 'The Sculptured Stones of Scotland', 2 vols 1856-57, illustrated 'Under Lochnagar' 1894. His landscapes of Aberdeenshire are highly prized especially in the area in which he lived. His painting in the Mearns is regarded by some as his best work. In 1875 he painted an interior of Culter Castle and its Chapel which was subsequently purchased by the owner and in 1883 showed a portrait of his mother. Lived latterly at 10 Gladstone Place, Queen's Cross, Aberdeen. 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 watercolour of a Scottish Scene by John Mitchellart, artwork, john mitchell, mitchell, scotland, scottish, art, artwork, john mitchell, mitchell, scotland, scottish

Catalogue card reads, "Bush scene at Quamby".

The Kokoda Trail or track is a place of historic significance to many Australians. It is outside Australia in Papua New Guinea.Scanned from a coloured slideView from this sidepapua new guinea, papuan, scene

This postcard was produced in the 1950's for the tourist trade in the Kiewa Valley and Alpine region. It encompasses the period when the State of Victoria was pressured by the ever increasing demand by industry and its population for electricity supplies. Hydro electricity was seen as an untapped natural resource to quench this demand. The Victorian Alps and the rivers flowing into its valleys was ideal for the construction of the Kiewa Hydro Electricity Scheme. The late 1940's saw the development of this scheme and the changing of sections of alpine landscape is covered by this and other postcards/pictures (tourists, construction workers, and established rural populations). This period in time was before the established wildlife and forest/nature groups became political activist who changed legislative acts to protect the environment. This rural region (Kiewa Valley/alpine plains) was at most only significant to a smaller group of winter sports, summer hikers/horse riders and rural farmers/graziers. The numbers of tourists and the increase in the local resident population was boosted by the construction of the Hydro Electricity Scheme. This influx to the regional population resulted in a corresponding diversity in services and brought about an environment that responded to a growing level of tourists and thereby permitting this industry to grow more rapidly than it would have naturally. This postcard details an attraction to the "cleaner" method of providing electricity. This postcard was purchased in 1950 by a surveyor at Landford's Gap. The couple shown in this photograph would have been employed by the S.E.C. under the Kiewa Hydro-Electricity Scheme.This item is a scanned black and white photograph of a couple walking along a gravel street in Bogong Village in 1950. See 0480 (A) ,(B), (D) - (F) for other photos of similar postcards" SCENE IN BOGONG VILLAGE KIEWA HYDRO-ELECTRIC PROJECT"kiewa valley tourism, victorian alps, alternate energy supplies, alpine population growth, bogong, secv

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.23 / ‘Waterfall scene on the Coliban River, near Elphinstone’ / Albumen silver photograph mounted on boardOn reverse: ‘The scene this illustration presents is but one of the many that exist along the course of this shallow River, which, like its parent the Campaspe, abounds with rocky and romantic scenery. The fall of the River at this place is over one hundred feet, but is broken by a long course of rocks to the lower bed; the actual fall as seen is about forty feet. The Coliban, though only a branch of the Campaspe, derives its name from the fact that its course runs through the Coliban Park. Gold is found in considerable quantities along the banks and in the stream, but at the present time these diggings are worked only by Chinamen.’nicholas caire (1837-1918), australia - landscape photography

View is to the east from the corner of Sussex and Clyde Streets, Linton (near former Post Office building, fence and sheds of which can be seen in the photograph).Black and white photograph of snow covered landscape, view from former Bennetts Butcher's shop corner Clyde and Sussex Streets (opposite P.O). Rear of Post Office can be glimpsed on the left of the photo."Snow scene from Linton Post office about 1950".snow, linton post office

An early colour postcard of a brook scene in Marysville. The original photograph was taken by Nicholas John Caire in 1906. This is one of a series of postcards of photographs taken by socialite photographer Nicholas John Caire. N.J. Caire had a great love for the area and in the late 1800's took many photographs of Marysville and its surrounds. N.J. Caire was born in 1837 in Guernsey. He arrived in Adelaide about 1860 along with his parents who encouraged his early interest in photography. He opened a studio in Adelaide in 1867 after traveling extensively throughout the Gippsland taking photographs. After marrying in 1870 he moved to Talbot in Victoria until 1876 when he opened a studio in the Royal Arcade in Melbourne. After 1885 N.J. Caire gave up his city work and made his home in South Yarra and devoted the rest of his life to outdoor photography, specializing in the bush, the gullies and the mountains of south-eastern Victoria. An early colour postcard of a brook scene in Marysville. The original photograph was taken by Nicholas John Caire in 1906.POST CARD This Space may be used for Correspondence. (FOR ADDRESS ONLY) Postmark/ Geelong/ 22/ Rest is illegible Glad to know you/ are keeping better/ & trust you will go/ on so doing accept/ love & best wishes/ for a happy Xmas/ we will be all/ thinking of you/ Yours M.P. Philip Mip Rittocto/ "Hospital"/ Lt Ryrie St/ Geelongmarysville, victoria, nicholas john caire, brook scene, souvenir, postcard, australia

In 1857 the Ballarat Police Horse Paddock was converted into a botanical garden near Yuilles Swamp (Lake Wendouree). George Longley was appointed the first curator living in a tent near where the Robert Clark Centre is today.postcardForest Scene, Botanical Gardens, Ballarat Elaine 30-11-08ballarat botanical gardens, ballarat police horse paddock, yuille's swamp, lake wendouree, george longley, robert clark centre.

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘Scene near the Buffalo Mountains’ : Views of Victoria (General Series) No.41 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘This scene is taken from the banks of the Buckland River, which is about five miles distant from the Buffalo Mountains, as seen in the distance. These mountains are frequently covered with snow, in consequence of their great altitude. The Buckland River is a small tributary of the Ovens River, which flows through the Beechworth district, and eventually finds its way to the River Murray. The Bridge which is seen on the right of the picture forms the roadway which leads from the Buckland Camp to the Township of Bright.’nicholas caire (1837-1918), landscape photography

Framed Asian scene on textiles indian art, textiles, framed, available

Black and white photo of scene at Vermontdaymond, mrs

Black and white photograph of a busy scene.festivals and celebrations., floral displays., crowds., the crown hotel.

Art collection Previously located in History HouseThe painting depicts a large body of water surrounded by tree-covered riverbank. Depicted in shades of blue and grey, the water features patches of brown and blue which illustrate the reflections of riverbank trees. In the foreground to the left of the water is a large tree which extends up to cover the top left skyline of the work. Featured in the background is a dense patch of trees completed in shades of blue. To the right of the water is a dense patch of trees completed in shades of brown and black. These trees reach into a purple and blue cloud-filled sky. The work has a gilded ornate frame with cardboard and gold mount and exposed canvas.Front: A.S. Murray Plaque attached to frame: SCENE on the RIVER MURRAY Back: (no inscriptions)

Painting, Snow Scene by Lord R Smithsnow scene, lord r smith

Painting, A Scene in the Yarra Valley by Henry Burna scene in the yarra valley, henry burn