Advertisement in the local paper for Sunlight Blinds of Shop 4 - 96 Grimshaw Street Greensborough [1995]Newspaper advertisement, black, red and white text.sunlight blinds

Walter Magilton's professional painting career is highlighted by numerous solo exhibitions, five of which have been in Great Britain. He has also won countless prizes, which include many 'Best in Show' awards. Walter is represented in a great number of private and corporate national and international collections, including ART Bank, in approximately twelve countries.This painting is a one of a series of approximately eight works of the river at Warrandyte and the local creeks, with particular emphasis on the reflections in the water and of the wattle growing along the banks. I was particularly inspired by Penleigh Boyde who did similar work while living in Warrandyte in the early 1920s.'Sunlight and Shadows, Warrandyte' is an oil on canvas painting depicting the Warrandyte landscape, featuring a winding creek with beautiful reflections cast upon it. The colour palate comprises muted green and earth tones, with a vivid aqua for reflective water.walter magilton, nillumbik, warrandyte

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.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, sunlight, lithograph

Here is the epic story of Vietnam and the sixties tld through the events of a few gripping passionate days of war and peace in October 1967.vietnam war, 1961-1975 - united states, vietnam war, 1961-1975 - protest movements -- united states

Here is the epic story of Vietnam and the sixties tld through the events of a few gripping passionate days of war and peace in October 1967. 1961-1975 -- united states, vietnam war, 1961-1975 -- protest movements -- united states

Gift of Dame Nellie Melba, 1923

Gift of Miss Lucy Newell, 1972

This is a book review of 'The Australian Ugliness'.australian ugliness, walsh st library

non-fictionvictorian railways, mildura, souvenir, mildura sunlight, 1960, ballarat, melbourne

Weatherboard three story Wimmera Flour Mill, Taylor Street Stawell. Founded 1876. Demolished 1988 after 112 years. One photo is looking East/South the other is North/ West.B/W photograph of Stawell Flour Mill, 2 motor cars, 1 wooden wagon, 1 loaded railway carriage covered with tarp. Three photos, one is an enlarged photograph of the smaller photo.The Wimmera Flour Mill Comp Sunlight Flourstawell industry

The aircraft KYEEMA, a Douglas DC-2, crashed into the western face of Mt Dandenong in thick cloud on 25th October 1938. All 18 occupants on board were killed. The aircraft overshot Essendon Airport by 20 miles. The subsequent findings triggered the beginning of air traffic control and the establishment of the Department of Civil Aviation. This photograph was taken in 1938 by First Constable Carl Tepper of Russell Street Police Station. Carl Tepper was a cousin of Frank Child, grandson of Ted Child. They were related through the Dorey family.Sepia photograph showing the wreckage of an aeroplane spread in the forest amongst trees. Sunlight is streaming through a gap in the trees.On reverse: Wreckage of plane crash in Dandenongs flying daily from Adelaide to Melbourne 1930s. No survivors. Taken by late First Constable Carl Tepper Russell Street Police Station.kyeema, carl tepper, frank child, aircraft, aeroplane, crash site, crash, tepper

Laura Wright was the sister of Frank Wright who was a renown resident of Smeaton, where they was born. They lived at Laura Villa, and attended Smeaton State School with their siblings. Their father William was a gold miner and their 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. Laura married Mr W.M. Ritchie and lived in BallaratBlack and white photograph of a woman standing beside a net curtained window. The sunlight illuminates the face and torso. There is a marked contrast between the light and the darkened room. The woman is Laura WrightWritten in pen on the back - Laura Wright, 2/1/24, F.W.laura wright, frank wright, cornet, conductor

3 identical 6 x 8.5|1 same size hand tinted 6 x 8.5Black and white small format postcard of a sunset scene on Reeves Channel, Gippsland Lakes. It shows sunlight reflected through clouds and on the lake between Rigby Island and the mainland. Lakes Entrance Victoriaislands, waterways, topography

The Halls Gap Swimming Pool. ' Caravaners who visit Halls Gap will find facilities for up to 200 caravans, shelter, water laid on, swimming pool, paddling pool for children, with swings &:firewood, kitchen comfort station with showers, lounge and sewered conveniences under the care of a reliable and courteous caretaker. Stores and bowsers are close handy. Milk and bread are delivered at the camp each day and meat four times a week. The fees are 7/0 for first week and 5/0 a week thereafter." article from Argus Mon.15/1/1940 article with photograph aboveThe photo shows a swimming pool (Halls Gap pool) with a building in the background. Women and children are in the pool, seated around the edge and on the surrounding grassy areas. There is sunlight reflecting on the water. Bush can be seen in the background.recreation, swimming pool

Shearing time at Cooninbil Station, NSW, 2006. The Ferrier Wool Press sits among penned sheep in an old woolshed. Invented and made in Geelong, the Ferrier wool press could be found in woolsheds all over Australia and around the world.A Green large wool press reaches towards the ceiling in the centre of the image. Rays of bright orange sunlight extend around the green wool press. Surrounding the wool press are numerous sheep. The sheep are penned within a large multileveled wooden woolshed.shearing, ferrier wool press, cooninbil station

Con Kroker Private CollectionBlack & White photograph of the bow sprit of the S.S. Pan, mounted on grey gard.Front: Pencil- A.P.R Competition July Open class senior "Bow Sprit" Taken in evening sunlight on S.S. Pan with x filter. C.O. Kroker "Kia Ora P.B. Horsham

Walter Withers was a significant Australian landscape artist and a member of the Heidelberg School of Australian Impressionists. In 1903 Withers bought 'Southernwood', a house on 2½ acres (1 ha) at Eltham, to which he added a studio. Because of ill health, he lived during the week at his studio in Oxford Chambers, Melbourne, and on weekends and holidays with his family at Eltham until his death in 1914. The Eltham rail bridge is a unique and valuable historic relic of an earlier steam locomotive transport era in the Diamond Creek Valley and has long formed an important part of a magnificent Eltham landscape. When built in 1902 it was close to the terminus point of the Heidelberg-Eltham rail extension, on the route of the proposed Diamond Valley Railway that was then planned to continue much further up the valley towards Kinglake. This bridge is situated in attractive river-valley parkland amidst the tall and spreading manna gums and candlebarks of the Diamond Creek Valley. The Alistair Knox Park river-valley landscape, of which the timber trestle bridge is an important visual component, has been classified by the National Trust. Large manna gum and candlebark trees adorn the adjacent creek banks, and historic Shillinglaw Cottage is also part of this much-prized Eltham landscape. Eltham is home to a historic wooden railway trestle bridge. Mainly of timber-pier and timber-beam construction, but varied by a few longer steel-joists spans on timber piers at the main stream channel, this substantial bridge has almost two hundred metres of timber deck. Built in 1902, it is the only railway bridge of predominantly timber construction that is still in regular use as an integral part of Melbourne's metropolitan electric railway network and one of extremely few timber rail bridges in the State that still carry trains. Apart from its important continuing social function as a carrier of rail transport for the Hurstbridge line, this impressive bridge and its beautiful parkland environs contribute much to the character of Eltham township and that town's special reputation as an historic centre of environmental and conservation concerns. This section of the Diamond Creek Valley was the subject of a Walter Withers painting in the earliest years of the twentieth century and has strong historic links with our Heidelberg School of painters. Watercolour painting on paper of Eltham's Trestle Bridge in the middle of the day. A small section of the wooden bridge is located to the left of the painting. The focus is predominately on the wattle, manna gum and candlebark trees that is to the right of the bridge. The golden hues typically represent the australian sunlight and landscape. "W.W" in gothic script on the lower right side of the painting. Not dated. withers, eltham, trestle bridge, railway, watercolour

Yields information about the top of a Westinghouse T1F controller.Digital image, black and white, of the top of a Westinghouse T1F Controller from outside the door of the tram with the sunlight reflecting off the controller. Photo taken by Peter Bruce 1970's and 1971, prior to the closure of the Ballarat tramway system. Peter's Title of image: "Westinghouse Controller"trams, tramways, tram controllers, tramcars

Con Kroker Private CollectionBlack & White photograph of the bow sprit of the S.S. Pan, mounted on grey card.Front: Pencil- A.P.R Competition July Open class senior. Idle Rigging. Weak evening sunlight S.S. Pan with x 1 filter. C.O. Kroker "Kia Ora" P.B. Horsham Vic

Adelaide had been displayed in the Hopwood Gardens from 1960. In 1984 The City of Echuca decided to put the paddle steamer back in the river. This happened over several weeks and involved digging a boat ramp into the bank in front of the Hopwood Gardens. This involved a lot of skill and people. It also attracted a lot of attention. Crowds gathered every day to watch the task. In this photograph the P.S Pevensey in the foreground still has the name P.S Philadelphia writing on its name plate. The P.S Pevensey was used in the TV Series 'All The Rivers Run', as the P.S Philadelphia. Relates to a series of images Reg. nos. P000059.3, P000061.3, P000062.2, P000063.3, P000070.2, P000071. Statement of Significance The re-floating of the P.S Adelaide is significant because it occurred at a time when the Tourist Industry was gathering momentum in Echuca. The City of Echuca made the decision to add another paddle steamer to its fleet to carry passengers on the Murray River. The P.S Adelaide is one of the oldest, still operative wooden hulled paddle steamers in the world. It celebrated it's 150th birthday in July 2016. The re-floating of the P.S Adelaide created a lot of attention locally and regionally.A colour negative, photograph and enlargement of the re-launching of the P.S Adelaide in 1984. In the photograph the P.S Adelaide is situated in the river after just being launched down the slipway from Hopwood Gardens. There is a crowd of people standing on the bank behind the paddle steamer, bathed in late afternoon sunlight.The paddle steamer has the word Adelaide written across the wheelhouse, and on the front port side of it's hull.p.s adelaide, p.s pevensey, all the rivers run, p.s philadelphia, hopwood gardens, re-launch of the p.s adelaide

The large tapestry of the royal arms (in the reading room accessed via the library) dates from the early years of George III's reign (1760-1820), and is usually covered to protest it from sunlight. tapestry, supreme court, london

http://www.prc68.com/I/MkVHeliograph.shtml Heliograph is a wireless solar telegraphic instrument which uses adjustable mirrors, reflecting the sunlight, creating flashes that transmit messages, typically via morse code.Brass heliograph.Helios. MkV . No:3075. 1914. Made by Siemens Brothers.

This framed sketch details, in graphic form, where the core samples in the display cabinet were removed. The drilling was a precursor to the decision where to locate, in this case, the McKay Creek Power Station. The information gained by structural engineers from the core samples would be used also for the placements of underground tunnels entry and exit points and the overall effective size of the plant. This would have included drill and blast techniques(rock characteristics play an import part of explosion control), requirements for support structures and reinforcing cement/steel forms. The use and replenishment of diamond drill bits(the strongest available, see KVHS 0280) was dependent on the "type" of rock found. Support beams for reinforced ceilings and floors was also a necessity.The visual derails of where the rock core samples were removed is very significant in the formulation and placement of the underground Power Stations and their maze of tunnels(in and out) for a successful implementation of the Hydro Scheme. The amount of pre-planning and scientific studies required for such a large scheme must be undertaken to ensure that a "white elephant" was not the result.This framed and glass front rock core display sketch has type written information of the rock samples displayed in KVHS 0279 (A). It has a softwood stained and glossed frame with a fixed(nailed) back board and a brass fixture for mounting onto a wall.The paper and type are slighted faded (sunlight affected). The sign heading "ROCK CORE SAMPLES RECOVERED FROM DIAMOND DRILLED BORE" underneath this "BORE NO: 883" and below this "LOCATION: McKAY CREEK POWER STATION AREA" to the left a sketch incorporating the ground level point "GROUND LEVEL R.L.3493", and the core depth point "CORE DEPTH 40' 7". In between and representing( in visual form) the core location areain question.alternate energy supplies, alpine feasibility studies temperature, rainfall, sec, kiewa hydro scheme, electricity

This bottle contained castor oil or cod-liver oil and has a hand finished top. It would have been bought at a local chemist or in a larger city on a shopping expedition.Historical: Found inside the walls of a Tawonga South farm house having been left there when the house was being built. Change of bottles - shape, glass stopper, manufacture and use. Aesthetic: Display showing shape and colour due to the affect of sunlight.Clear glass bottle with manganese/purple tinge caused by sunlight. Hand finished top. Joins in glass on each side but not continuing to opening. Straight sides from the base to a little more than half way up. Sharp taper to neck which is straight and long to lip and opening. Cork stopper.Bubbles in glass. chemist, castor oil, codliver oil, tawonga south, aurora parmesan

Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Advertisement, Challenge blankets, ElectracolourFirst Time Ever!/Clan Murray Challenge Blankets/Bring You New Colours Glowing like Early Morning Sunlight/Electracolour/from New Swiss Miracle Dyes/Still with the Super Luxury of Kitten-soft Double "Perma-Nap" Finishwool, blanket, blanket fever, challenge, advertisement, australian women's weekly