Acquired by the Sandringham City Council in 1981 as winner of the acquisitive Inez Hutchison Award, established by the Beaumaris Art Group in 1966. Lenton Parr was the judge.Ulrich Stalph, Autumn at Clunes 1980, oil on canvas, 135 x 100.5 cm. Bayside City Council Art and Heritage Collection. Winner of the Inez Hutchison Award, 1981.clunes, autumn, landscape, rural, trees, ulrich stalph, beaumaris art group, inez hutchison award

COLOUR PHOTOGRAPH OF THE INSTALLATION OF PARK LANDSCAPING IN CLUNES - COLLINS PLACElocal history, photography, photographs, collins place

GIFT OF PAYNE FAMILYWOOD FRAME PAINTED WHITE, OIL PAINTED LANDSCAPE OF CLUNESlocal history, illustration, oil, paintings, drawings

THE PHOTOGRAPH WAS TAKEN FROM CREEK PARADE GOVERNMENT BRIDGE CRESWICK ROAD AND BUTTER FACTORY BRIDGE ACROSS TULLAROOP CREEK. GASWORKS..1 ORIGINAL SEPIA LANDSCAPE OF CLUNES MOUNTED ON CARDBOARD. GOVERNMENT AND JUBILEE BRIDGES ACROSS CRESWICK CREEK. GASWORKS NEARBY. .2 BLACK AND WHITE COPY OF THE ABOVE PHOTOGRAPH PRINTED ON GLOSS PHOTOGRAPHIC PAPER .3 HAND COLOURED POSTCARD PHOTOGRAPH OF THE ABOVE PHOTOGRAPH .4 TWO POSTCARDS WITH SAME PICTURE .5 FOUR SMALL PHOTOGRAPH COPIES WITH SAME PICTURE.1 ON BACK OF PHOTOGRAPH GASWORKS, BRIDGES AND CREEK. 1900 .3 ON FRONT OF POSTCARD GOV. BRIDGE CLUNESlocal history, photography, photographs, bridges and buildings

The Rose Stereograph Company first began producing postcards, identified as the 'P' series (like this particular example) in 1913 and continued in this business until 1967 after which they switched to machine manufactured colour postcards printed by an external company. These were produced by Victorian-era photographer George Rose (1861-1942) often reputed as one of the best photographers in Australia during the later 19th Century and early 20th Century. Rose was born in 1861 in Clunes and began his photography business in 1880 when he founded the Rose Stereograph Company. He later switched to producing postcards after stereographs lost popularity in the early 1920s. The Mayday Hills Hospital was one of these locations photographed by George Rose and published as a postcard. Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town. A pamphlet published by James Ingram and Son (1849) reveal that famous landmarks in Beechworth which included the Post Office, Gaol, Courthouse and Asylum "demonstrate the appreciation of Beechworth by the Government not only as as important district center, but also as a site unrivaled as a sanitarium". There were other locations in contention at the time, but ultimately Beechworth was chosen (Craig 2000,33). Prior to the creation of the Asylum in Beechworth, those charged with having mental illnesses or, as it was termed, "insanity" were unable to be properly cared for in the Gaol (which is where they were often sent). John Buckley Castieau wrote, in 1861 for the Ovens and Murray Advertiser, that the Gaol was unable to properly care for those classified then as "insane" but that they would endeavor to treat them above the other inmates (which he notes is not always the case in other establishments). Castieau wrote this in favour of supporting the building of the Mayday Hills Hospital in Beechworth. It was stated that at the time the Mayday Hills Hospital was built, there were 83 prisoners kept in the Gaol who were to be rehoused to the Hospital on the grounds of "insanity". The classification as someone as "insane", in this period of time is a reflection on the inability to cure and understand illnesses of the mind during the mid to late 1800s. Opening on the 24th of October 1867, the Mayday Hills Hospital was originally named the "Ovens Lunatic Asylum", a title which is very much a product of its time. Whilst controversial, changes to the name is part of the history of the Hospital and can provide much insight into the understanding of mental illness throughout history and the use/disuse of this term provides information into the reception/changing opinions of mental illness in society. The Hospital would later become known as the "Mayday Hills Asylum" and/or "Mayday Hills Hospital" with the latter being the most commonly used title. An article in the Ovens and Murray Advertiser notes that on the 7th of March 1865, the foundation stone of the Hospital was laid (it would officially open in 1867) and that it was such a moment of accomplishment and joy for Beechworth that a letter to the editor even suggested that there should be a holiday dedicated to the day the foundation stone as laid. This reveals an extent to which the townspeople of early Beechworth valued the construction of the Hospital in their town. It provided the town with a sense of prestige and honour. At first glance, the remains of the Mayday Hills Hospital in Beechworth, Victoria, inspire tragedy, trauma and beauty. The buildings themselves, with their Italianate style Renaissance architecture designed by J.J. Clark (Craig 2000, 49 & Smith 2016, 203) reflect a bygone period of European and Australian history. The gardens provide a sense of tranquility and beauty. The experience of those within these walls remains a valuable area of study to provide a more complete understanding. This particular hospital is considered the fourth of its like and one of three identified as the largest of their kind. The Mayday Hills Hospital is a sister to the Kew and Ararat Asylums in Melbourne which are both located in relative proximity. Understanding the role of the Mayday Hills Hospital in Beechworth history is integral to understanding the development of the goldfields town, but also for providing important information as to the history of caring for, and the reception of, mental illnesses in Australian and wider European history. Mayday Hills provides a case study which can be researched through oral history, an analysis of the grounds/buildings and through images like this postcard which portray the structure in a highly deliberate manner. Images like this depict the strong façade of the Hospital and provide a glimpse into the tranquility of the gardens. This has been done deliberately to provide a sense of comfort and healing about the building to those looking from the outside. Further research into the importance of the Hospital in Beechworth and it's connection to the town will be supported through images like these kept in the Mayday Hills photo album in the collection of the Burke Museum.Pale sepia toned rectangular postcard printed on matte card.Obverse: THE ROSE SERIES P. 4689 / COPYRIGHT / ADMINISTRATIVE OFFICES, MENTAL HOSPITAL, BEECHWORTH, VIC / Reverse: Published by the Rose Stereograph Co. / Armadale, Victoria / POST CARD / THE "ROSE" SERIES / DE LUXE / A REAL PHOTOGRAPH / PRODUCED IN AUSTRALIA /mayday hills, asylum, mental hospital, hospital, beechworth

LANDSCAPE PHOTOGRAPH TAKEN FROM CAMP PARADE, CLUNESLOOKING ACROSS FROM "STEPS" TOWARDS SITE OF POLICE STATION ON CAMP PARADE. NOTE OLD 2 STOREY HOUSE JUST BELOW CAMP PARADE.local history, photography, photographs, clunes township

PHOTOGRAPH OF CLUNES TOWNSHIP, SHOWING THE TWO BRIDGES ACROSS THE CREEK.VIEW FROM ABOVE PRESENT VICTORIA PARK.local history, photography, photographs, bridges - buildings and landscape of clunes

Wesley PEMBERTHY (1920- ) Born Broken Hill, New South Wales Wesley Pemberthy spent his childhood in Adelaide, South Australia. As an adult he lived in Bendigo, Ballarat, Clunes, Creswick, Daylesford and Perth. While in Perth he studied at Perth Technical School (1933-1937), followed by studies under the tutorship of Norman Lindsay in New South Wales. 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 landscape. Signed lower right "Pemberthy '93"art, artwork, pemberthy, wesley pemberthy, available, landscape

THIS PICTURE WAS TAKEN SOON AFTER THE CHURCH WAS BUILD IN 1871, AND PRIOR TO EXTENSION AT REAR END IN 1888.PHOTOGRAPH OF ST PAUL'S CHURCH OF ENGLAND.ST.PAUL'S PRIOR TO 1888local history, photography, photographs, churches - st-pauls anglican

BLACK AND WHITE PHOTOGRAPH - PRESIDENTS OFFICERS AND MEMBERS. HOSPITAL FANCY FAIR CLUNES 1892.GRETCHEN WEICKHARDTlocal history, photography, photographs, events and celebrations, hospital

TULLAROOP CREEK FROM "ROCKS" NEAR SITE OF PORT PHILLIP MINE. ABOUT 1890 - NOTE GOVERNMENT BRIDGE IN DISTANCE. THIS WAS REBUILT IN STRAIGHT STEEL GIRDERS IN 1896.ORIGINAL SEPIA PHOTOGRAPH OF TULLAROOP CREEK, IN FOREGROUND VIEWS OF CLUNES TOWNSHIP. TWO MILE HILL IN LEFT FAR DISTANCE. (SUSPENSION BRIDGE IN FOREGROUND)local history, photography, bridges - buildings and landscape of clunes

THE PAINTING WAS DONE BY MRS. HOLY BARKELLSEPIA TONED LANDSCAPE MOUNTING BOARD MARKED THE MOUNT ROAD CLUNES. BROWN WOODEN FRAMElocal history, illustration, oil, barkell, harris family.

SEPIA COPY OF PHOTOGRAPH OF JANE DAVIDSON -BORN SUNDAY FEB.7TH. 1867. LATER TEACHER AT CLUNES. ORIGINAL PHOTOGRAPH OWNED BY MRS. ISOBEL FOXSEPIA COPY OF PHOTOGRAPH OF JANE DAVIDSON.J.R. TANNER - LANDSCAPE & PORTRAIT PHOTOGRAPHER CLUNES. JANE DAVIDSON JNR.local history, photography, photographs, costumes - female

JANE DAVIDSON - SCHOOLTEACHER AT CLUNES. ORIGINAL PHOTOGRAPH OWNED BY MRS. ISOBEL FOXSEPIA COPY OF JANE DAVIDSON STANDING BY READING TABLE.local history, photography, photographs, costumes - female

JANE DAVIDSON WIFE OF ALEXANDER GLADSTONE DAVIDSON MARRIED 20TH. OCTOBER 1864 BY THE REV. JAMES BALLANTYNE. MOTHER OF NINE CHILDREN. ORIGINAL PHOTOGRAPH OWNED BY MRS. ISOBEL FOXTWO PHOTOGRAPHS [COPIES] 1 SEPIA AND 1 BLACK AND WHITE OF JANE DAVIDSON, WIFE OF ALEXANDER GLADSTONE DAVIDSON, MARRIED 24TH OCTOBER 1864 BY THE REV. JAMES BALLANTYNE. MOTHER OF NINE CHILDREN.local history, photography, photographs, costumes - female

NORTH CLUNES MINE OPERATEDSEPIA PHOTOGRAPH OF NORTH CLUNES MINING COMPANY WORKS. SHOWING WORKING MINE - POPPET HEADS - CHIMNEY AND HOUSES WITH SMALL HOME GARDENS IN FOREGROUND,THE NORTH CLUNES COMPANY'S WORKSphotographs, mining, north clunes company, poppet heads

ORIGINAL PHOTOGRAPH OWNED BY MRS. ISOBEL FOX. JANE DAVIDSON - SCOOL TEACHER AT CLUNES.1 SEPIA AND 2 BLACK & WHITE COPIES OF PHOTOGRAPH OF JANE DAVIDSON NURSING A BABY SITTING BY A READING TABLE.local history, photography, photographs, costumes - female

SEPIA PHOTOGRAPH OF NORTH CLUNES MINING COMPANY'S WORK.- SHOWING POPPET HEADS - CHIMMEYS LARGE GALVANISED IRON SHEDS.photographs, new north clunes company, north clunes company

OLIO - STAGE CURTAIN [PHOTOGRAPH] IN CLUNES TOWN HALL.PHOTOGRAPH OF AN OLIO - STAGE CURTAIN - OIL PAINTING LANDSCAPE PART OF STAGE SET. PAINTED BY RICHARD FORDlocal history, photography, photographs, town hall, richard ford

PHOTOGRAPH, - VIEW TAKEN FROM GEORGE STREET SHOWING LANDSCAPE, GOVERNMENT BRIDGE - LOOKING SOUTH WEST. .1 SEPIA PHOTOGRAPH MOUNTED ON CARDBOARD .2 SEPIA PHOTO PRINT .3 BLACK AND WHITE PHOTO PRINT .4 SMALL BLACK AND WHITE PHOTO PRINT .5 SMALL BLACK AND WHITE PHOTO PRINT GOVERNMENT BRIDGE CLUNES. SOUTH WESTlocal history, photography, photographs, bridges and buildings