'Tiles from the Boomerang Studio' is a prototype of the work 'Year 2052', created while Mooney was an Artist in Resident at Laughing Waters in the Boomerang studio in 2002. Records of flora were collected in and around the Gordon Ford garden in Laughing Waters Road. The work 'Year 2052' is made up of '77' tiles and was acquired by Geelong (Regional) Art Gallery in 2003. Whilst working at the Boomerang studio, local based artist Mooney noticed that “a battle raged in the bush between non-indigenous plants and indigenous plants”. She also noticed how humans “invade” land, changing the surrounding environment and causing irreversible damage. This work is an interpretation of the fragility and value of Nillumbik’s indigenous flora and of its conflict with introduced species. The title of the work (Year 2052) and look of these ‘fossilised specimens’ asks viewers to cast themselves into the future and to look back at today. “These tiles have been found; an incomplete record of flora collected in and around the Gordon Ford garden in Laughing Waters Road. The tiles appear to have been made at the beginning of the millennium. The viewer is asked to contemplate which species are missing”. Mooney works with collected indigenous items to emphasis the beauty of their natural shapes, while at the same time introducing selected materials of contrast or sympathy. Her work creates a great sense of “stillness and peace, of simplicity and connection with the natural world as well at the vanishing Australian bush.”This work is made up of seven handbuilt earthenware oval/round clay 'tiles' - (eight pieces - with one tile intentionally broken), brown in colour and bisque and blackware fired, giving a matt black ash coating on each of the tiles' surface. Each tile has an imprint of a floral specimen indigenous to the Laughing Waters area in Eltham. Each tile has an imprint of the following specimens: tiles, earthenware, flora, indigenous, bisque, boomerang, ford, laughing waters

A group of 2 photographs, children not identified, taken circa 1900. From the Partington collection.Two sepia studio portraits.partington family

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 depicting the Print Studio 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, studio, lithograph

Wesleyan Church Choir taken in August 1899 by Herbert's Studio Stawell.Black and white photograph of a group of 12 females plus one male seated centre front. Taken in Herbert's Studios Stawell.Taken August 1899 Wesleyan Group Mrs. R. Gray Wakeham St Stawell Herbert's Studios Stawell Methodist Church Choir Matilda Miller need Hanes in front. Daughter of John and Martha Hanes nee Hall. Deep Lead. Born 1879. Died W.A. 1958 Mrs Richard Herbert Miller/\wesleyan, religion, choir

Cragg/Wearmouth Family collection. People unknown. Carte-de-Visite photo of woman and girl posing in studio Portrait C.B. HERBERT Royal Studio Stawell Main Streetportraits

Wedding photo Auntie Liz and Uncle Tan LehaneSepia wedding photograph taken in a Studio.Eden photo studio Paris Panel Superior Finish Melbourne and Sydney. on the back Auntie Liz Uncle Tan Lehane

Cragg Sisters Father William Grundy Cragg 1862-1938 a Cabinet Maker made the Honour Roll. Brother Henry also cabinetmaker. Mother Annie Cragg (ne Wearmouth) 1863-1948 married 1895. Elizabeth (Bess or Bessie) Cragg 1896-1985 of Smith Street in 1920 prepared WW1 Honour roll for shire while she was a part time student and part time instructor at the then School of Mines. Music teacher Annie (Nan) Cragg 1897-1984 Of Smith Street Stawell. School teacher from 1915. Taught at Watta Wella. (Fat Miss Cragg). Owned a car. Marjorie Cragg1900-1982 Schoolteacher in Melbourne. Married Henry Bird Jessie Cragg 1901-1998 School Teacher from 1922 of Smith Street (Skinny Miss Cragg) looked after Cragg household. Agnes Cragg 1903-1930 Schoolteacher in Melbourne Married cousin Lancelot Wearmouth D’Arcy Street. Agnes was murdered by her husband Lancelot.   Oval Studio portrait of young woman, Bess Cragg (Eilzabeth) with pearl necklace lace collar and small broach Bess Melba Studio 101 Swanston St Melbourne

Studio portrait of Stan Harris seated in chair.Black and white studio photo of a young man seated.Post Card great western

Colour photograph of Connie and Alec Smith's studio built after the 1939 bushfire. Photograph was taken many years later when the studio was owned by Reg and Phil Preston (potters). Includes background information from Audrey Cahnalec smith, connie smith, studio, reg preston, phil preston, potters, warrandyte

Studio photograph of a group of students from Ballarat Junior Technical School. Boys' ages indicate different year levels. Similar to other photographs in the collection that are of Prefects and Scholarship winners. These are also studio photographs.Black and white studio photograph of fifteen students - seven standing and eight sitting. Junior Tech School written on backballarat junior technical school, alumni

People, cricketLaser copy of photograph Studio portrait of Buninyong Football Club, Premiers, 1935-36 SeasonOn photo: "Buninyong Cricket Club Premiers Season 1935-36" {"Thornton" Studios Ballarat} Full names (see Context)b. connelly, t. eason, j. austin, s. garlick, h. davis, k hale, w. brennan, t. halliwell, m. goggin, a. spencer, l. mcmahon, l. allitt, w. stephens, e. o'loughlin, j. brnnan, e. sutherland, e. austin, c. archer

Studio Portrait of Hans Irvine. Photograph sent by Seppelts December 2010.Two studio photographs one coloured the other black and white of a gentleman with a white mustache. stawell

Studio portraits of Jane Price (who died 31/12/1990) and child (Eva Partington born 1899). Jane price was first wife of Will Partington and died in childbirth two years after this photo. Eva Partington's grandfather Archibald Price [Centre Photo]. Eva Partington's grandfather Archibald Price [Right Photo].3 studio portraits, sepia.Names of subjects written on back.archibald price, jane price

Leader of the Opposition, Jeff Kennett, visited 3RPH studios to be interviewed by Arthur Wilkins and chatted with John Cook and Diana Jones. A proof sheet includes images taken of various volunteers in the studio and two ladies at a table.2 black and white photographs of Jeff Kennett in the recording studio, 1 proof sheet and 6 negativesArthur Wilkins with the then Leader of Opposition, Jeffrey Kennettassociation for the blind, jeff kennett, arthur wilkins, diana jones, john cook, 3rph, marj west, peter ross edwards, paul mcsherry, paul shipcon, lindsay mcmillan

The photograph was taken at the wedding of Spiroa and Yiannoula Fatouros which took place on 8 August 1924 at the Evangelismos Greek Orthodox Church in East Melbourne. They had four children: Peter Fatouros, Rita (Aphrodite) Paxinos, Helen Vlass (past treasurer of the Ithacan Philanthropic Society and Honorary Life Member) and Sia (Anastasia) Beasley. A sepia studio wedding photograph of a bride and groom. The groom is dressed in a dark suit and is seated on a Vienna chair. His bride is standing next to him. The photograph is backed on cream board.The Hope Studiothe hope studio, fatouros wedding

Francis John Papworth - VX66806 - Studio photograph - portrait style. Shot in March 1943 while on leave after escape from TimorThis photograph displays historic significance from WW2 and Curly Papworth's service in the 2nd/2nd Independent Company. It has strong provenance as part of the Papworth Family donated collectionSepia Studio photographww2, world war two, 2nd/2nd commando, commando, francis john papworth

Francis John Papworth - VX66806 - Studio photograph - portrait style. Shot in March 1943 while on leave after escape from TimorThis photograph displays historic significance from WW2 and Curly Papworth's service in the 2nd/2nd Independent Company. It has strong provenance as part of the Papworth Family donated collectionSepia Studio photographww2, world war two, 2nd/2nd commando, commando, francis john papworth

Francis John Papworth - VX66806 - Studio photograph - portrait style. Shot in March 1943 while on leave after escape from TimorThis photograph displays historic significance from WW2 and Curly Papworth's service in the 2nd/2nd Independent Company. It has strong provenance as part of the Papworth Family donated collectionSepia Studio photographww2, world war two, 2nd/2nd commando, commando, francis john papworth

artist shown in her studio with some of her creations Colquhoun Road Lakes EntranceColour photograph of Josephine Jakob artist shown in her studio with some of her creations Colquhoun Road Lakes Entrancearts and crafts, events

Sonia PAYES (1956- ) Born Melbourne, Victoria Sonia Page is a conceptually-based artist Australian artist working with photography, multi-media, animation and sculpture. She continually pushes the boundaries between photography, sculptural work and new media, with a strong environmental narrative permeating her work. A large photographic tryptich depicting the studio of prominent Australian artist Jeffrey Smart. Sonia Payes art practice is grounded in her training as a photographer. In 2005 Sonia Payes started a large project involving photographing artist's portraits, art works and surrounds. Depicting the idiosyncratic, and often private, lives of artists the project resulted in a visual book titled ‘Untitled. Portraits of Australian Artists', published by McMillan Art Publishing in 2007. studio, eisel, geoffrey smart, sonia page

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in the mansion originally named Illapa, 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937) and his wife Edith Mary Weir (1867-1948). George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.Important group family photograph, taken in Broken Hill, of Edith Mary Weir and her children. Another aspect of the photograph is that it is revealing about fashion and the tastes of the period.Studio portrait of Edith Mary Weir and her five children, taken by a photographer of the Sykes Studio in Broken Hill, New South Wales. The members of the family are from left to right: John Rigby Weir (1910-1971), Edith Mary Weir (nee Betteridge), Cecil Rigby Weir (1904-1983), Horace Rigby Weir (1907-1988), George Rigby Weir (1901-1927), and Edith Rigby Weir (1899-1981). [John Rigby Weir was the donor's father].Stykes Studio / Broken Hillweir collection, george weir, horace rigby weir, george rigby weir, john rigby weir, edith rigby weir, edith mary weir (nee betteridge), sykes studio -- broken hill

Francis John Papworth - VX66806 - Studio photograph - portrait style. Shot in March 1943 while on leave after escape from TimorThis photograph displays historic significance from WW2 and Curly Papworth's service in the 2nd/2nd Independent Company. It has strong provenance as part of the Papworth Family donated collectionFrancis John Papworth VX66806 - Studio photographOn leave - 1943ww2, world war two, 2nd/2nd commando, commando, francis john papworth

Booknon-fictionA visual record of posters made at Megalomania Print Studio, a print collective in Canberra 1980-2013community, political art, artist unknown, gender, health, environment

WW1 soldier Great WesternStanding Portrait of Stan Harris. c1910Stan Harrisww1

Stawell Gift Winner 1923 J Curran Winner of Stawell Gift .Stawell Gift 1923. Hcap 9 Yards - Time 12 sec. J Curran.

Studio Portrait of Four Ladies. By C Hewitt Stawell Photographic Company close to Railway Station. Note very fine Dresses fans and books.Four Ladies dressed up around central pedestal table in studio portrait. Three younger ladies have tightly corseted dresses.stawell

Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, Warrigal Road, Ashwood, 1965. Stuart Tompkins Studio provided this photograph for the Kew City Council. The photograph, taken at the intersection of Warrigal Road and High Street South, Ashwood looks north along High Street Road. The intent of the photograph was to provide the Council with models of electricity supply poles. In the photo, wooden and steel poles can be seen in the median strip. The photograph also includes the shops bordering High Street Road during this period. [There are three copies of this photograph in the Collection.]. Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.4 Warrigal Road - Ashwood. South of High Street Road looking north. Wooden and steel poles with different brackets in median strip." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."electric light poles, public works -- 1960s, civic infrastructure -- 1960s

Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, Warrigal Road, Ashwood, 1965. Stuart Tompkins Studio provided this photograph for the Kew City Council. The photograph, taken at the intersection of Warrigal Road and High Street South, Ashwood looks north along High Street Road. The intent of the photograph was to provide the Council with models of electricity supply poles. In the photo, wooden and steel poles can be seen in the median strip. The photograph also includes the shops bordering High Street Road during this period. [There are three copies of this photograph in the Collection.]. Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.4 Warrigal Road - Ashwood. South of High Street Road looking north. Wooden and steel poles with different brackets in median strip." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."electric light poles, civic infrastructure - 1960s, public works -- 1960s

Research provided by Stuart Tompkins Studio, Box Hill, into alternatives for median strip street lighting to be used in Burke Road, Kew. The photographers identified variants in different suburbs appropriate to Kew's needs.The series from which the photograph is drawn provides a snapshot by a commercial photographic studio of each named vicinity in 1965 as well as providing examples of public works infrastructure being commissioned by local government in the 1960s. The photos originally formed part of the Engineering Department's files in the City of Kew before being donated to the kew Historical Society.Electricity Supply Poles, Warrigal Road, Ashwood, 1965. Stuart Tompkins Studio provided this photograph for the Kew City Council. The photograph, taken at the intersection of Warrigal Road and High Street South, Ashwood looks north along High Street Road. The intent of the photograph was to provide the Council with models of electricity supply poles. In the photo, wooden and steel poles can be seen in the median strip. The photograph also includes the shops bordering High Street Road during this period. [There are three copies of this photograph in the Collection.]. Typed inscription on reverse: "Electricity Supply Poles. Photographed for Kew City Council 8/2/65. No.4 Warrigal Road - Ashwood. South of High Street Road looking north. Wooden and steel poles with different brackets in median strip." Studio stamp: "Stuart Tompkins Studio. 547 Station Street, Box Hill. WX1439."electric light poles, public infrastructure -- 1960s, civic works -- 1960s