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Nillumbik Shire Council
Print (Lithograph) Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin. Pugh's Gate, before the Fire, / Printed 2004
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, gate, fire, lithograph -
Nillumbik Shire Council
Print (Lithograph) Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Sunlight, / Printed 2004
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 -
Nillumbik Shire Council
Print (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Artist's Gallery, Printed 2004
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 detailing the Artist's Gallery at Dunmoochin, located within bush surrounds at Cottles BridgeBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gallery, lithograph -
Nillumbik Shire Council
Print (Lithograph) Clifton Pugh, Clifton Pugh, Untitled (Black Birds) from the Bodford Terrace Suite 1978, 1978
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 -
Nillumbik Shire Council
Painting, Clifton PUGH, White Choughs in the Landscape, 1958
Pugh was one of many artists who brought an Australian experience to attention. His landscapes reveal the colour and textures of the natural bush, often with a dramatic emphasis. His reference to the harshness of the bush consistently arises, with angular forms dominating the composition. White Choughs in the Landscape is typical of his representations of the bush as a dynamic environment. White Choughs in the Landscape, 1958, 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 White Choughs in the Landscape is typical of Pughs' representations of the bush as a dynamic environment. The brittleness and fragility of the landscape is recorded in the surface of the work, where paint is applied in thin layers.Signed 'Clifton Sept. 1958'clifton pugh, dunmoochin, white choughs -
Nillumbik Shire Council
Painting: Rick AMOR (b.1948, Melb. AUS), Rick Amor, Out to Sea, 1993
Rick Amor was a good friend of three times Archibald Prize winner Clifton Pugh, living and working at Pugh's artist colony Dunmoochin, (Cottles Bridge) during the 1980-1990s. Amor made frequent outdoor painting trips with Pugh. His studies of Williamstown and areas around the port fuelled a period of sustained painting in his studio at Dunmoochin. Amor is an artist of national significance who had lived locally in Dunmoochin (Cottles Bridge) during the time of this work's making. This painting was exhibited/entered into the 1993 Shire of Eltham Art Awards. The work is representative of Amor's style and interest in seascapes as subject matter. Oil on linen, seascape painting. A solitary and motionless male figure in an overcoat stands at the edge of a dock/jetty with his hands in his pockets looking out to sea with his back towards the viewer. A motorised boat is moored close by and a white house with a blue roof can be seen in the distance. The figure is engulfed by the landscape and a resounding sense of desolation. A storm is brewing; the mood forecast by dark, heavy and thick ominous clouds, alternately darkening with the approach of night, a polluted haze and rough seas. In red paint, lower right, signed 'RICK AMOR '93'amor, seascape, painting, personal, boat, dramatic, atmospheric, ekphrasis 2015, dunmoochin -
Nillumbik Shire Council
Print (drypoint): Rick AMOR (b.1948 Melbourne, AUS), Rick Amor, 'The Ruin' from 'The Baldessin & Friends' commemorative folio, 2016
Painter, printmaker and sculptor Rick Amor is one of Australia's most distinguished senior artists. He was a good friend of the late George Baldessin and three times Archibald Prize winner Clifton Pugh, having lived and worked at Pugh's property, Dunmoochin in Cottles Bridge, Nillumbik during the 1980s and 90s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'The Ruin' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. Rick Amor has been an ardent supporter of the Baldessin Press & Studio and a great patron of living artists. In 2014 the Press partnered with Amor and the State Library of Victoria to create The Amor Residency at The Baldessin Press & Studio, which is part of the Library's annual fellowship program. 'The Ruin' was based on a plein air painting done by Rick Amor on a trip to Broken Hill in 2001 and reflects on death and the passing of time so eloquently portrayed by the industrial ruins of NSW. In the tradition of a Piranesi, the work emphasises the transience of life and the triumph of time. Black and white drypoint etching in which a small figure, a traveller; located bottom left, points to a large crumbling edifice (building), a stage like space in the background. Ed.14/25baldessin, print, drypoint, amor, 2018 ekphrasis, ruin, etching, ekphrasis2018 -
Stawell Historical Society Inc
Photograph, Harris Bridge – Red Bend Road -- Great Western
... of Bridge. Photo is out of focus so hard to work out. Harris Bridge ...Harris Bridge – Red Bend Road Great Western.Black & white photo of Bridge. Photo is out of focus so hard to work out.Harris' Bridge Red bend Road Great Westernstawell -
Koorie Heritage Trust
Book, Bell, Diane, Listen to Ngarrindjeri women speaking =? Kungun Ngarrindjeri Miminar Yunnan, 2008
When the Ngarrindjeri women of South Australia asked Diane Bell if she would work with them in the running of some workshops to develop a booklet about culture and governance, none of them realised quite where it would take them. The Ngarridjeri women of South Australia reveal their thoughts, daily challenges, and visions for the future in this moving book. The stories range from charming and delightful to jarring and shocking, and delve into matters both social and personalÑincluding the Hindmarsh Island bridge controversy. Serving as a model for how indigenous and non-indigenous women can jointly write a book, this narrative can help indigenous women in other communities develop their own collective history and visions for the future.xiii, 145 p. : ill. (chiefly col.), ports. ; 25 cm.When the Ngarrindjeri women of South Australia asked Diane Bell if she would work with them in the running of some workshops to develop a booklet about culture and governance, none of them realised quite where it would take them. The Ngarridjeri women of South Australia reveal their thoughts, daily challenges, and visions for the future in this moving book. The stories range from charming and delightful to jarring and shocking, and delve into matters both social and personalÑincluding the Hindmarsh Island bridge controversy. Serving as a model for how indigenous and non-indigenous women can jointly write a book, this narrative can help indigenous women in other communities develop their own collective history and visions for the future.ngarrindjeri (australian people) -- social life and customs. | women, aboriginal australian -- south australia -- social life and customs. | oral tradition -- south australia. | storytelling -- south australia. | hindmarsh island (s.a.) -- social life and customs. -
Whitehorse Historical Society Inc.
Article, Meeting to take action, 1993
A Vietnamese youth worker will be appointed to work at Forest Hill Chase Community Centre as part of a four point strategy to curb youth violence in Nunawading.A Vietnamese youth worker will be appointed to work at Forest Hill Chase Community Centre as part of a four point strategy to curb youth violence in Nunawading. Chairperson of the youth issues party, Xanthe Whitney says feedback from youths in the community indicated a cultural barrier existed between different ethic youths that needed to be bridged.A Vietnamese youth worker will be appointed to work at Forest Hill Chase Community Centre as part of a four point strategy to curb youth violence in Nunawading. shopping centres, forest hill chase, forest hill chase community resource centre, whitney, xanthe -
Whitehorse Historical Society Inc.
Article, Rangers, 1990
10 disabled girl guides from Mitcham rangers have been awarded the Duke of Edinburgh Bridge Awards.10 disabled girl guides from Mitcham rangers have been awarded the Duke of Edinburgh Bridge Awards. Group Leader, Anne McLean, said a sense of purpose prevailed in the group as they worked towards the award.10 disabled girl guides from Mitcham rangers have been awarded the Duke of Edinburgh Bridge Awards.mitcham rangers, mclean, anne, guide groups, disabled -
Whitehorse Historical Society Inc.
Document, Full steam for Eastlink
... and Ringwood bypass and Maroondah Highway bridge (photos). Work ...Work continuing on Mullum Mullum Valley tunnels and Ringwood bypass and Maroondah Highway bridge (photos).Work continuing on Mullum Mullum Valley tunnels and Ringwood bypass and Maroondah Highway bridge (photos).Work continuing on Mullum Mullum Valley tunnels and Ringwood bypass and Maroondah Highway bridge (photos).eastlink, ringwood bypass, maroondah highway, mullum mullum valley, deep creek road, mitcham, eastern freeway extension, tunnels -
Whitehorse Historical Society Inc.
Photograph, Deep Creek Road, Mitcham, 1/01/2001 12:00:00 AM
Black and white photograph of Deep Creek Road, Mitcham taken from lower entrance of Schwerkolt Cottage Reserve showing Glenvale Road on left. Photo taken before work started on new road and bridge.deep creek road, mitcham, glenvale road, ringwood -
Whitehorse Historical Society Inc.
Photograph, Deep Creek Road, Mitcham, 1/01/2001
... Road on left. Taken before work started on new bridge and road.... on left. Taken before work started on new bridge and road. Deep ...Black and white photograph of Deep Creek Road, taken from lower entrance of Schwerkolt Cottage Reserve showing Glenvale Road on left. Taken before work started on new bridge and road.deep creek road, mitcham, glenvale road, ringwood -
Whitehorse Historical Society Inc.
Photograph, Work on Deep Creek Road, 1/07/2001 12:00:00 AM
... Coloured Photo of work beginning on Bridge on Deep Creek... beginning on Bridge on Deep Creek Road, Mitcham. Work on Deep Creek ...Coloured Photo of work beginning on Bridge on Deep Creek Road, Mitcham.deep creek road, mitcham. -
Whitehorse Historical Society Inc.
Photograph, Work on Deep Creek Road, 1/02/2002 12:00:00 AM
Coloured Photo of Crane placing last Span in Bridge over Deep Creek Road, Mitcham.deep creek road, mitcham. -
Whitehorse Historical Society Inc.
Photograph, Work on Deep Creek Road Bridge, 1/02/2002 12:00:00 AM
... progressing on Deep Creek Road Bridge in Mitcham. Work on Deep Creek ...Coloured Photo on Work progressing on Deep Creek Road Bridge in Mitcham.deep creek road, mitcham. -
Whitehorse Historical Society Inc.
Photograph, Deep Creek Road, 1/04/2001 12:00:00 AM
Coloured photograph looking from Schwerkolt Cottage Reserve across Deep Creek Road as work begins on construction of new Bridge.deep creek road, mitcham -
Ballarat Heritage Services
Work on paper - Etching, Sydney Long, 'Tower Bridge' by Edgar James Maybery, c1935, c1935
Edgar James MAYBERY (1887-1966) Best known for her etchings. Etchingsydney long, etching, tower, architecture -
Rutherglen Historical Society
Image, c1928
Photocopies of Hume Weir photographs 1928-29One of three black and white photographs, photocopied onto a single sheet of A4 paper. This one is of construction work on a cliff face, with train lines, tunnel and cable.Written on paper next to photo: "Detail of open cut for [illeg.]. Train lines for taking rock to crusher tunnel & stay ropes of suspension bridge showing"hume weir, suspension bridge, bridges, tunnels, construction -
Ballarat Heritage Services
Pamphlet, Hanging Bridge, Manchester, England
Hanging Bridge is a medieval bridge spanning the Hanging Ditch which connected the rivers Irk and Irwell in Manchester. 'For many years the bridge was completely hidden, remembered only in the name of the area where it had stood, until its rediscovery and subsequent excavation as a result of demolition work carried out in the 1880s.' ... More information is on the pamphlet A pamphlet containing images and information about the Hanging Bridge at Manchester Cathedral.Manchester Cathedral Hanging Bridge: A scheduled ancient monument of Manchester constructed in 1421. ... More information and timeline on pamphlethanging bridge, manchester, medieval, manchester cathedral -
Dandenong/Cranbourne RSL Sub Branch
Badge - RAN Bridging Train Collar Badge, Circa 1914/15
The 1st Royal Australian Naval Bridging Train (1st RANBT) was formed in Melbourne on 28 February 1915 and was intended to be a horse drawn engineering unit attached to the Royal Naval Division (RND), then serving as infantry on the Western Front. The term ‘train’, in its title, was a direct reference to the horse drawn wagons that would, in theory, form and move ‘in train’ to carry the unit’s heavy lumber, building materials and engineering equipment to the front. The unit was manned by members of the Royal Australian Naval Reserve for whom there were no available billets in seagoing RAN ships. Many of the sailors serving in the 1st RANBT were rated ‘drivers’, and again, this refers to wagon drivers as opposed to motor vehicle drivers. Other seamen were rated as ‘artificers’ or ‘sappers’, the latter being a military term traditionally used to describe army engineers. Appointed in command of the 1st RANBT was Lieutenant Commander Leighton Seymour Bracegirdle, RAN. Bracegirdle was ideally suited to command the unit, having seen active service with the NSW Naval Brigade during the Boxer Rebellion in China as well as serving as a military officer in the South African Irregular Horse during the Boer War in 1901. He had also recently returned from German New Guinea where he had served as a staff officer in the joint Australian Naval and Military Expeditionary Force (ANMEF) responsible for the capture of the German colonies in the Pacific in September 1914. Three hundred naval reservists, including 50 men who had recently served in New Guinea, were selected for the 1st RANBT and they began their training in horsemanship, engineering and pontoon bridging at the Domain in Melbourne. By late May 1915 a decision was made to send the unit to Britain to complete its training and then to join the RND on the Western Front. The plan, however, never eventuated. The complaints about the non-combatant work being done by the men had been raised in Federal Parliament and following consultation with the senior Australian officer in the Middle East, Lieutenant General Sir Harry Chauvel, a recommendation was made that the unit be disbanded and its men used as reinforcements for the AIF. Consequently, Lieutenant Commander Bracegirdle was advised that his unit was to be dispersed; its men transferring to the AIF or being returned to Australia for discharge. On 27 March 1917 the 1st RANBT was officially disbanded.Oxidised brass anchor shaped collar badge.ww1, world war 1, first world war, ranbt, ran bridging train, royal australian navy bridging train, collar badge -
Ballarat Heritage Services
Photograph, Lidded ceramic vessel with Bamboo like design
Robert MAIR Robert (Bob) Mair (1943- ) Born New Zealand A potter who trained at the Sturt Pottery in Mittagong under Les Blakebrough and later set up a pottery at Clifton Pugh’s Dunmoochin estate at Cottles Bridge near Melbourne. He then worked with John Olsen for two years from 1969-1970, with Mair throwing and Olsen hand-decorating the pots. During the 1970s, Bob Mair worked in goldfield production pottery in Ballarat with Robert Pitman before moving to Clarendon in the Adelaide Hills in South Australia in 1982. In the late 1880s and 1990s Robert Mair is working at Sturt Pottery timeline again in the late 1980s/1990s as a visiting potter under Campbell Hegan. In the early 2000s, he and partner Janie Kerr set up a pottery at Braemar in the Southern Highlands of NSW. They then moved, first to Sutton Forest where they took up a residency at Hillview, the former summer residence of the governors of NSW, then to Wingham in the Mid North Coast region of NSW. Mair’s work may be marked with an impressed ‘RM’, an impressed tricuspid symbol or both. In Clarendon, he continued to use the tricuspud symbol with an impressed ‘Old Clarendon Pottery Adelaide’ stamp. A Ballarat mark has not been identified, but simse this lidded pot was found in Ballarat it could be a cross in a circle?Lidded ceramic container with blue bamboo like design on the outside.australian studio pottery, ceramics, bamboo -
Ballarat Heritage Services
Photograph - Photograph - Colour, Sunnyside Mill Bridge over the Yarrowee, Hill Street, Ballarat, 2016, 17/09/2016
... voted to carry but the work. As the bridges over the Yarrowee... voted to carry but the work. As the bridges over the Yarrowee ..."A joint meeting of city and town ratepayers, convened by Messrs Francis Jago and Henry Johns, interested in the formation of a cart bridge in Hill street, over the Yarrowee Creek, was held on Saturday evening, in the Societies Hall, corner of Skipton and South streets, with the view of taking united action in the matter. Mr Morris was voted to the chair, : and about 60 persons were present. The chairman stated that the object of the meeting was that united influence should be brought to bear upon the City and Town Councils, so that a cartbridge should be erected. He said that Mount Pleasant would no doubt be thickly populated in a few years, and the bridge would prove a great boon to the inhabitants of the locality. By means of a cart bridge drays, would be enabled to save on their journeys to and fro between the mount and the batteries, at least a mile and a half each time. He hoped that the councillors for the south ward would assist them in this matter. Mr Jago, as one of the conveners of the meeting, said that united action on the part of both eastern and western ratepayers was requisite, so as to exert a strong pressure upon the City and Town Councils, in order that the work should be carried but. Mr Grainger moved the first resolution as follows;—“ That the construction of a cart bridge over the Yarrowee Creek at Sunnyside, to facilitate communication between the residents of the city and town, is urgently necessary, and that in the interests of both municipalities the two councils be asked to at once jointly carry out the work. In doing so he said that the necessity of a cart-bridge for the residents of Mount Pleasant would be apparent when the number of batteries, tanneries, and also the Woollen Mill, in the district were considered. The place was of growing import ance, and ready communication should at once be established. Another reason was that an immense saving in time would be effected. It was quite a common occurrence to see one, two, or three drays stuck in the bed of the creek which had gone that way to make a short cut. Now, what with the horses floundering about and breaking their harness, it seemed a wonder to him that life had not been destroyed before now, just through the want of a cartbridge. Mr Johns seconded the resolution. Mr Robert Calvert supported the resolution, and said that it was disgraceful action on the part of the representatives of the south ward that the work had not been executed long ago. They should come together like men and demand that the work should be done, and if not done they should not pay rates until it was. (A voice—“But they’ll make us.” Laughter.) The wooden footbridge across the creek was “only a wooden fabric, not fit for a Christian to walk across, and steps should be taken to remedy this also. Mr Blight, a resident of Mount Pleasant, said that, in common with others, he had been opposed to the erection of the bridge two years ago, but his views had since been altered. Cr. Morrison, who was present, said that the fault of the cartbridge not being erected over the Yarrowee at Hill street lay not with the City Council, but with their neighbors, who had always been opposed to its erection there. In 1874 a motion was carried at a meeting of ‘the City Council" by which the sum of £5OO had been voted to carry but the work. As the bridges over the Yarrowee were joint undertakings of the city and town, they had, by the provisions of an act of Parliament, called upon the Town Council to assist them in the erection of the bridge. In consequence, a conference of the two corporate bodies had taken place, when a motion was moved by Cr Howard, the representative of the south ward, and seconded by Cr Turpie, of Ballarat East—“ That the bridge should be erected at Hill street.” The motion was rejected, principally through the eastern representatives, who wanted the bridge lower down. Since then the two councils had often met to consider, the question of bridges over the Yarrowee Creek, but nothing had been done at the meetings, as the Eastern Council wanted the bridge in one place and the City Council in another. He had himself, when first elected to the council, given notice of motion affirming the desirability of a bridge, at the place now fixed upon. The Woollen Company was growing in importance, and a direct, road to its works would greatly advance its interests. For the working, expenses of each ward £400 was annually, appropriated; and this amount would not be sufficient carry out the work. They would have to obtain a special grant of about £900, as Hill street would require a culvert to be erected therein, as now it was virtually an open drain which carried the drainage of the western plateau to the Yarrowee. He advised that strong pressure should be exerted, specially upon the Eastern Council, and then the work might be carried out. He thought that if the foot bridge was repaired, and large stones thrown into the creek, it would do until the bridge could be erected. The chairman then put the resolution, and it was unanimously carried. Mr Hamilton moved the second resolution— “That Messrs Fern, Greenwood, Peirce, and Jago be deputed by the meeting to wait upon the City and Town Councils and present the first resolution; also that petitions in its favor be signed by all ratepayers interested.” Mr Haigh seconded the resolution, which was carried. Votes of thanks to Cr Morrison for his attendance, and to the chairman for presiding, were passed, and the proceedings terminated." (Ballarat Star, 9 August 1881, page 3) "WOOLLEN MILL BRIDGE YARROWEE IMPROVEMENTS Though brief the official ceremony of opening the bridge across the Yarrowee Creek, near the Sunnyside Woollen Mills, was of an interesting character. It took place at noon yesterday in the presence of the Mayors and councillors of the City and Town. Hon. F. Hagel thorn (Minister of Agriculture).Hon Brawn. M.L.C., Lt-Col Morton (Acting City Clerk). Mr J. Gent (Town Clerk of Ballarat East), Mr A. Farrer (City Engineer), Lt. L. Finch (who is about to leave for the Front, and who assisted Messrs A. Farrer and G. Maughan in carrying out the project, Mr W. Hurdsfield (Clerk of Works) and others. An apology was received from Mr J. McClelland, contractor for the work. Mayor Hill expressed pleasure in Introducing Mr Hagelthorn, who had at great personal sacrifice and inconvenience come from Melbourne to perform the opening ceremony of that beautiful bridge, which was of great improvements that had been effected.When Mr Hagelthorn was Minister of Pubic works he visited Ballarat specially to see the condition of the creek, which at that time was in a disgusting state from a sanitary standpoint. After viewing the position, and realising the justice of the claim. Mr Hagelthorn made strong representations to the Government of which the was a member with the result that it voted £17,000 for the work. That action had been the means of turning a plague spot into a thing of beauty. They therefore owed a deep debt of gratitude to Mr Hagelthorn and the Government of which he was a member, and they were particular grateful to Mr Hagelthorn for coming to Ballarat to perform the open ceremony. Mayor Levy said he could bear testimony to the good work Mr Hagelthorn had always done for Ballarat. In him Ballarat and district always had a good friend. He thought Mr Hagelthorn would feel amply gratified at seeing the good work that had been done. It would serve as some reward for the expenditure, on behalf of the residents of Bal larat, of the amount of money made available through Mr Hagelthorn's instrumentality for the two municipalities. Otherwise the City and Town councils would not have been able to carry out so necessary and so beneficial a work. There was a great amount of work yet to be done, and when the financial market became low stringent Mr Hagelthorn would no doubt be pleased to take the necessary steps to have money provided for further works which could not be undertaken at the present time. The adjacent woollen mill was a standing monument to what was being done in Ballarat, and what ever the City and Town Councils or the Government could do to encourage such manufacturing enterprise should be done, and he was glad to be able to say that was being done as far as finances would permit. He concluded by presenting Mr Hagelthorn with a gold mounted pocket-knife with which to cut the ribbon stretched across the centre of the structure as a bar to traffic. The Hon. F. Hagelthorn, who was greeted with applause said before him was a good work well done in the interests of the public. Real prosperity could only be achieved by a movement carried out by the people to increase natural productiveness. Most of them had been made aware, on account of the war par tiularly, that the people who were best equipped, the industries that were best organised, and the Governments that were most intelligently controlled would get the most of this world's goods and some of its luxuries that Would be denied other people less efficient. Any thing the Government could do to promote industry and to increase the reward of those engaged in it, both employer and employee, would be done. Most Governments would do but little in that regard. ... " (Ballarat Courier, 13 September 1916, page 4)Bluestone and iron bridge over the Yarrowee River at Hill Street, Ballarat.sunnyside mill, sunnyside woollen mill, ballarat woollen mill, bridge, yarrowee creek, francis jago, mount pleasant, yarrowee river, robert calvert -
City of Ballarat Libraries
Photograph - Card Box Photographs, Sewing workshop, Tylers, Ballarat 1909
This photo shows seamstresses at their sewing machines at what could be, Tylers which is located on the first floor of the corner of Bridge and Grenville Streets. The lady in the foreground is 'Baby' Gingell who later became Mrs W. Wallis.tylers, sewing, business, commerical, fashion, ballarat, bridge street, grenville street, manufacturing, costume work -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Postcard, 1998c
Tinted small format postcard showing the township situated on the isthmus between two stretches of water the Cunninghame Arm and the North Arm. Work in progress widening the North Arm Bridge as seen by workmen's huts beside the southern approach. Lakes Entrance Victoriajetties, waterways, topography, township -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, Jemmeson Edie, 1936
One other copyBlack and white photograph of the first section of the footbridge being constructed across the Cunninghame Arm, it shows work underway. Pile driver at end of partly constructed bridge. Lakes Entrance Victoriabridges, waterways, associations -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, Lakes Post Newspaper, 1991
Date made January 1991Black and white photograph taken when work commenced on the construction of the new concrete bridge on the Princes Highway, Toorloo Arm, near Lakes Entrance. Road works in distance, crane beside present bridge, Vicroads warning sign to cyclists in foreground. Toorloo Arm Victoriabridges, waterways -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, Lakes Post Newspaper, 1995
Image appeared in Lakes Post Newspaper 7 June 1995Black and white photograph showing Whelans crane starting work on the approaches to the Swan Reach bridge, for widening and strengthening works. Swan Reach Victoriabridges, celebrations -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, Lakes Post Newspaper, 1999
Photo and article appeared in the Lakes Post Newspaper 28 July 1999|Barge was built by Wayne Smith for the firm East Gippsland Bridges.|Also two other photographs similarColour photograph of the launching of a new work barge in the Tambo River, Victoria.boats and boating, topography, waterways, celebrations