Born: Mount Duneed, Victoria, Australia 1867; Lived and workd: England 1897-1919; Died: Olinda, Victoria, Australia 1943EdwardianGift of Mrs E.E. Ledger, 1982Sunny urban landscape with impressive building with large towers facing a street with figures and trees.Thin gold brushed timber frame.Recto: Signed "Arthur Streeton." in brown watercolour in l.l.c of composition; Not dated; Not titledwatercolour, building, sky, figures, trees, tower

Born: Yamba, New South Wales, Australia 1886; Died: Sydney, New South Wales, Australia 1950NationalismLedger Gift, 1985Clearing in a rural landscape with many different types of birds. There are palm trees and treed hills in the background. Stained timber frame.recto: Signed and dated "Neville.W.Cayley -10-" in black watercolour in l.r.c of composition; Not titledwatercolour, landscape, birds, magpie, cockatoo, kookaburra, blue wren, rosella, field, tree

Born: Edinburgh, Scotland c.1818; Arrived: Melbourne, Victoria, Australia c.1867; Died: Sydney, New South Wales, Australia 1900VictorianGift of Mrs E.E. Ledger, 1985Rural landscape with dirt track, narrow stream, trees and steep mountains. Gold brushed and painted timber frame.Recto: Signed and dated “J H Carse / 1866” in brown oil, l.r.c of composition; Not titled painting, landscape, mountains, river, clouds, sky, trees

Born: Melbourne, Victoria, Australia 1855; Died: Melbourne, Victoria, Australia 1917Heidelberg SchoolLedger Gift, 1987House on top of hill in rural landscape with sloping hill to a pond and trees and grasses in foreground. Copper brushed timber frame.Recto: Signed "F. McCubbin" in brown oil in l.r.c of composition; Not dated; Not titledpainting, waterscape, hills, house, landscape, water, impressionist

Born: Melbourne, Victoria, Australia 1848; Lived and worked: New Zealand 1866-1877, New Zealand, United Kingdom, United States 1892-1905; Papua New Guinea 1916 and 1918; Died: Macedon, Victoria, Australia 1922VictorianLedger Bequest, 1993Watercolour and gouache on paper depicting pink flowers and yellow butterflies in a sparse field. Gold brushed timber frame with off white window mountRecto: Signed "Ellis Rowan" in red watercolour in l.l.c of composition; Not dated; Not titledwatercolour, landscape, flowers, sky, clouds, trees, butterflies

Born: Birmingham, Warwickshire, England 1807; Arrived: Melbourne, Victoria, Australia 1853; Died: Melbounre, Victoria, Australia 1884RomanticismGift of Beverley Brown, 2015Oil painting on board, depicting sparse rural landscape by a river and bridge.Gold brushed timber frame and decorative gesso inner corners. Recto: Not signed, not dated, not titledpainting, landscape, figures, boat, tree, bridge, river, animals, water

l.r; Murray Sunset Wilderness, 2008, John Wolseleyaustralian artist, landscape, lizards, murray river, tree, flower, flora, abstract

In the possession of internee at Camp 3.Oil painting of a hilly landscape with a lake in the distance and winding stream and fir tree centre right. Gold frameBottom right hand corner (in red) "Vagarini 1924"painting, oil, vagarini c, baer dr t, ww2 camps

Landscape and Language -- Lubra Creek -- The River Runs Backwards -- These Blarsted Hills -- Scarcely Any Water on Its Surface -- Everyone Who Has Ever Done A Tree Sit Always Says That The Tree Talks To You -- The Spirit of the Plains Kangaroo -- The Graveyard of a Century -- So Much for a Name -- Blackfellow Oven Roads -- The Ends of the Earth -- Natural Beauty, Man-Made -- Uluru -- The Outside Country -- It's Only Words.Mapslanguage and landscape, language essays, writing, storytelling

A series of information sheets on the west Port Phillip region, divided into zones, giving a guide to the tree and shrub species that occurred in those areas and where in the landscape they occurred.maps, b&w photographs, colour photographs, illustrations, word lists, wall mapindigenous plants, vegetation, species guide, revegetation

Could be river bend in Jackson's Creek.A sepia photograph mounted on a cream frame of a river bend. There is a small cottage on the LHS of the photo partly covered with gum trees. Exotic trees are growing on the RH river bank.rivers, houses, jackson's creek, landscapes, george evans collection

The Kaolin quarries at Bulla were an important industry in the district and supplied clay products to the Cornwell and Hoffman companies in Brunswick. The Kaolin deposits were found in the 1850's and were considered to be some of the largest in the colony.A landscape photograph of a valley with a post and wire fence and a partial view of a farm gate in the immediate foreground. A clump of native trees are on the LHS and a small grove of almond trees has been planted on the river flat. Kaolin quarry is on the hillside and two buildings can be seen on the hill top. High tension pylons are in the distance near the skyline.kaolin quarries, almond groves, bulla township, deep creek, hoffmans kaolin mine, hoffmans potteries, cornwell potteries, george evans collection

The photograph was taken above Reservoir Road on the lower slopes of Mt. Holden. It is looking south down Wilson's Lane towards some of the early Sunbury developments which grew around the Gap Road area in the early 1980s.A landscape coloured photograph with rounded corners. It is a panoramic view of Sunbury taken from the southern slopes of Mt. Holden. In the foreground there is a small cluster of trees and in the middle distance there is some evidence of housing development. Bald Hill can be seen on the skyline.wilson's lane, mt. holden, bald hill, sunbury, george evans collection

Gellibrand Hill along with the surrounding 3 properties: Attwood, Cumberland and Woodlands were incorporated into Gellibrand Park during the 1980s. Tullamarine became Melbourne's main air terminal in 1970 and replaced Essendon Airport.A coloured landscape photograph with rounded corners of the Tullamarine Airport taken from Gellibrand Hill. A man with his back to the camera is on the RHS and another person is running down the hill on the LHS. The area in the middle distance is lightly treed and the airport is in the distance to the right of the photograph.gellibrand hill, tullamarine airport, george evans collection

This is one of a set of 3 miniature oil paintings by the self-taught artist Alfred William Eustace (1820-1907). A.W. Eustace, an Australian artist, was born in Berkshire, England, where he was an assistant gamekeeper to the Earl of Craven at Ashdown Park. He migrated to Australia with his wife and children in 1851 and worked on the Ullina and Eldorado Runs on the Black Dog Creek at Chiltern, which was in excess of 50,000 acres of grazing land. A.W. Eustace was employed as a shepherd by Jason Withers and while tending his flocks in the solitude of the bush, Eustace turned his attention to painting and music to while away the long and weary hours. He endeavoured to capture the spirit of the bush painting on board, canvas or tin plate, but as these materials were not always readily available he then started painting on large round eucalyptus leaves from the White and Red Box trees that grew around about him. About 1856 he painted a small picture of the famous Woolshed goldrush and during the next few years became well known in North-East Victoria. John Sadlier, a police officer stationed at Beechworth said that Eustace painted 'some really exquisite scenes. He was of an easy-going dreamy temperament, a student of nature only, despising the works of men. Unfortunately his drawings were on eucalyptus leaves, the largest and roundest he could find and not on canvas, and no doubt have all perished long ago.' In 1876 the Melbourne Age newspaper reported, 'Eustace’s celebrated paintings on gum leaves are again attracting attention,…Mr Eustace is an elegant artist…he seems without effort to catch the colour and spirit of Australian scenery…' In 1864 A.W. Eustace held an Art Union in Albury, and again in 1884 in Ballarat. He exhibited at the Victorian Academy of Arts in 1877 and also held an exhibition of gum leaf paintings at Stevens Gallery, Melbourne in 1893. By 1896 he was receiving orders from heads of states in Europe, with his works acknowledged by Queen Victoria, Emperor Frederick of Germany and the Czar of Russia, as well as the Governors of New South Wales and Victoria. His paintings reflected his ability to paint the sky in his realistic style which is still noted by art critics of the day. A.W. Eustace was also a skilful taxidermist. The collection of birds and animals that can be seen at the Beechworth Museum are examples of his taxidermy skill. When not doing his work, painting or taxidermy, he regularly contributed letters and verse to the Chiltern newspaper, The Federal Standard. A book of verse in his hand writing was presented to The Athenaeum Trust by the Boadle family. In the 1870’s he became interested in spiritualism often being involved in lively debate at lectures and séances. Alfred William Eustace died in 1907 and is buried in the Chiltern New Cemetery with his wife Sarah and one of his daughters, Elizabeth.Miniature oil painting of a landscape with creek and surrounding trees by A.W. Eustace, under glass, in original dark brown timber frame with beige matte and a twist wire stand. One of 3 miniatures. Sticker on back: 188 (original Registration number)alfred eustace, chiltern, oil, landscape

Rural City of Wangaratta Collection, Wangaratta Art Prize 1990.An oil landscape of gums and grass trees painted with a colour palette of green, yellow, brown, blue, and grey.E. MICHEL 90/ (bottom right corner) GRAND WINNER 1990/ ELLEN MICHEL/ 'Summer In The Warbys'/ (plaque mounted on frame)wangaratta art gallery, ellen michel, landscape, painting, warby ranges

Nettleton creates an image of peace and tranquility after the violence felt from the 2009 Black Saturday bush fires / At the Arthurs Creek cemetery Nettleton found the grave of Reg Evans and Angela Brunton, friends who had perished in the fires / Nettleton sat on the edge of their joint grave and photographed their view / It was only after examining the photos more closely that she realized Mount Sugarloaf had burnt almost to the valley / Sugarloaf is always in an indigo haze. This work is by a local contemporary artist and encompasses themes dealing with the 2009 Black Saturday bushfires. Mixed media (acrylic paint, acrylic ink and indian ink) on board / Landscape painting of Mount Sugarloaf and green pastures after the 2009 Black Saturday bushfires / Mount Sugarloaf is depicted in an indigo haze in the background / A line of trees bathed in light border the mountain's edge / Lines of trees parallel to each other jut out diagonally in the foreground / Framing this view of the landscape is a pattern (topographical maps of the Nillumbik area), which suggest the vast extent of the devastated area of landscape. In black marker 'LIZ NETTLETON' + artist signature '2011' on back - middle right side nettleton, respite and repose, landscape, painting, mixed media, black saturday, mount sugarloaf

Tadich spends time observing night time phenomena, the light from the moon, street lights and other sources; atmospheric states, fog and dampness and the nature of surfaces, vegetation, road, vehicles and buildings. She uses photographs and sketches before settling on the final idea for a work.This painting is typical of Tadich's recent work. She continues her exploration of the Australian landscape (most often the local, Nillumbik Shire). It is 'a dramatic interplay between narrative, landscape and the binaries of light/dark and the known/unknown of local landscape. The swathes of darkness within the work(s) pose questions about our inscribed fears and tensions, both cultural and existential'. (catalogue, 'Silent Space' Ex. 2006) Tadich's early experiences of fireworks, simple fireworks and bonfire in the surrounding bush of her outer Melbourne home, caught her imagination. She was inspired to investigate the issues surrounding nights in the bush. In this painting the narrative is ambiguous, the pinpricks of light, in this case from the car headlights provide a critical element. We can distinguish familiar features, a road, trees and a car that suggest human presence. However, what is going on is unclear. The resulting tension can leave us unsure, unsettled and anxious.Oil on canvascamilla tadich, nillumbik shire council, kangaroo ground

Pugh was one of many artists who brought an Australian experience to attention. This work reveals the colour, textures, harshness and inhabitants of the natural bush, with the angular forms found on the ‘black birds’ dominating the composition with dramatic effect. Shanahan, Albert Tucker, Frank Werther and Fred Williams have at one time settled and or work there. Untitled (Black Birds) from the Bodford Terrace Suite 1978, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come lithographic print on French Arches paper. Dynamic and expressive depiction of black birds in flight on far left of composition, cropped elements of Australian landscape in blue and red in the background (trees, shrubs, rocks). Inscribed lower right 'Clifton'; 1:1; 179/300clifton pugh, bodford suite, dunmoochin

David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires. Painting: oil on canvas. Depicting the desolate aftermath of a bushfire in Eltham. Trees are bare and burnt, foreground is sparse, whilst background is fiery red.david armfield, eltham, bushfire

Michael Wilson learnt the craft of Goldsmithing after seeing well known sculptor and silversmith Matcham Skipper working in his studio at Montsalvat in and around 1970. This work is a gift to the Eltham Community in recognition of his twenty five years of developing his goldsmith skills and operating his business within the Shire. Wilson officially opened his commercial premises in 1985. Michael Wilson is a local jewellery maker. His work is influenced directly by the environment in which he lives. This sculpture is representative of his distinctive style of work as a nationally and an internationally recognised Designer and Goldsmith. Made of steel and powdercoated in aluminium with a concrete base. Decorative elements such as the ring encasing the cicada and the cicada's wings are guilded with 24ct gold leaf. The steel rod is burgundy in colour with the cicada painted a dark olive green to represent the 'Green Grocer' variety common in Eltham. The colours used in this sculpture match the surrounding Elm and Ash trees in the landscape. N/Apublic art, cicada, wilson, gold, green grocer, jewellery

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

Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape

The painting was purchased from the Eltham Outdoor Art Show. Smith endeavours to capture mood, atmosphere and light in this work by heightening and intensifying the imagery where possible. Smith is concerned with expressing a 'sense of place' inherent in the subject matter. Painting of a landscape at dusk with dirt walking track and trees somewhere in Eltham. Oil on composition board. Moulded frame. Painted in the 'Western Realist Tradition'. Signed 'HARRIS SMITH/84' Hand painted in capitals in red paint; bottom right. eltham, painting, landscape, smith, evening

Oil on canvas board, landscape painting in muted tones of an dry creek bed. Trees line the creek banks and a log bridge crosses the creek bed, perhaps built from the local tree timbers.Lower right, black paint 'Yvonne Ball'

Oil on canvas. Painted at Art Historian, Bernard Smith's dam beside Karingal Drive in Eltham, Victoria. Rich, green shrubs and eucalyptus trees surround the water, reeds grow in the dam. The surrounding landscape is reflected in the water. Sloping land and bush fill the background.

The (logging) truck carries a representation of John Glover’s painted landscapes, which Cox has painted on a solid block of wood. John Glover is one of Australia’s most celebrated colonial landscape painters. Born in England, he was a highly successful water-colourist and painter of landscapes in the tradition of French artist Claude Lorrain. Arriving in Australia in 1831, Glover adapted his picturesque style and luminous technique to his new surrounds, creating naturalistic and atmospheric paintings of Australian nature, settler life, and Aboriginal culture. Working out of doors, Glover developed an understanding of the unfamiliar Australian landscape, especially the twisting forms of native eucalyptus trees. His direct experience of nature, as both pioneer settler and painter, resulted in a new approach using a subtle palette of olive greens, ochres, misty greys and intense blues, and layered glazes of mauve, grey and gold, to portray Australian light and atmosphere. Dale Cox continues the ongoing preoccupation and tradition of landscape painting in the Nillumbik area and our impact on the environment in a contemporary way. The truck creates a playful nexus between painting (representational landscape) and sculpture, purposely bluring boundaries across these traditionally distinct disciplines. ‘Ghost’ seeks to convey the idea that when we remove something significant from a location, like the landscape itself, the remaining ‘place’ changes to become a new ‘place’. This may seem self-evident until we think more deeply about location and landscape. The white truck is a ghost, an ethereal, transient being that spirits away an entire place, forever removed from itself, and forever changed. Logging wild trees can never be like harvesting a ‘crop’. Logging removes a landscape, and changes a place forever. The ‘packaging’ of this painted landscape highlights the anomaly between commodity and our environment. Dale Cox was a local artist and this work was highly commended at the 2012 Nillumbik Prize. White plastic toy (logging) truck with a landscape painting on a wooden block. The landscape painting is reminiscent of paintings by colonial artist John Glover. N/Alandscape, truck, sculpture, environment, john glover, colonial, painting, ghost, nillumbik prize