The five span masonry arch bridge over Blind Creek was one of the major constructions on the Melbourne to Echuca Railway. It was one of the first masonry rail bridges built in Victoria. Construction began in 1859 when the railway was extended from Sunbury and was designed by G C Darbyshire.A coloured photograph of the 5 arched bluestone rail bridge showing the grassy embankments on each side of the bridge and the creek flat at the base of the bridge. Some tree tops are visible on the other side of the bridge.bridges, transport, rail transport, darbyshire, g. c., blind creek, v line, george evans collection

The bluestone house 'Amelia' was built in 1914/1915 and has included a combination of Victorian and Federation styles. Andrew Patterson the first owner lived there for over 40 years. It is thought that the bluestone used for the walls came from the first state.A coloured photograph of 'Amelia', a bluestone double fronted house with white wooden trims and a white corrugated roof. A bull nosed verandah stretches across the front of the house. The surrounding garden has been painted out with low growing trees and shrubs.patterson, andrew, amelia, george evans collection

Pulpwood was often split by hand or with black powder splitting guns into more manageable sizes and cut into 8 foot lengths (or billets). Billets were first stacked endwise to drain the sap and lighten the load before they were loaded by hand onto flat bed trucks for transport to the mills. This long length metal hook was used to pull and manoeuvre the pulpwood billets onto the truck. The advent of excavators in logging operations in the 1970s led to the loading and carting pulpwood in long tree lengths.Long steel tool with handle on one end and hook on the other.

Sandra Pullman visited the Melbourne City Council Exhibition, 'Melbourne Parks and Gardens Through the Magic Lantern' in November 2012. Lex Nieboer, former Burnley student graduating in 1975, found a large number of glass lantern slides in a store room and took them home as he was concerned they would be thrown out. His family has a long tradition of being involved in photography, so he understood the value of the slides. He donated the ones that were of Melbourne City Parks and Gardens to the Council and they used them in their exhibition. Sandra contacted Lex and arranged with Jane Wilson (Archivist) to visit Lex on 12 April, 2013 at Wilson Botanic Park, Berwick where he works. After Lex showed them the slides, he, very generously, donated approximately 300 slides back to the Burnley Archives. There was already a collection of almost 100 glass slides in the Archives. They were in a wooden box containing glass lantern slides with label on outside, "Slides of Horticultural Objects and Views." Inside lid is handwritten, "Mr Bailey Botanic Gardens Adelaide." (John Frederick Bailey, Director Adelaide Botanic Gardens 1917-1932.) and, "Mr Isaac 9 pla? 2 ficifolia." (Probably Mr Isaacs Mayor of Adelaide 1917.) Also, "Purchased from Estate of Reeves Late Malvern Gardens, AWJ." (F.L. Reeves, Malvern Council's Park Curator in the 1920's died in 1933. AWJ, A.W. Jessep, Principal Burnley Horticultural College 1926-1941.) These were numbers 61-85 "History of the Rose." Geoff Olive, former Staff member, remembered taking a number of glass slides to a photographic processor to have 35mm slides made from them. 60 of these are also in this collection. Also see B10.0057 for Melbourne City Council collection and, 11.0039, 12.0033 for photograph prints of lantern slides lost to the collection.Collection of approximately 400 glass lantern slides used for teaching at Burnley Horticultural College during the first half of the twentieth century. Some were made specifically for Burnley. Some images would not upload. The images include: overseas views of gardens, historical sites and geographical features (some hand coloured from Japan); a series of hand coloured images of roses with notes for teaching the history of the rose; school gardens of the early 1900's; fruit and vegetables; miscellaneous horticulltural; Australian native plants; cells; 'Living Races'; plants, trees and grasses; parasites, organisms and fungal diseases; miscellaneous horticultural scenes; parks; cattle; agricultural data.sandra pullman, lex nieboer, melbourne city council exhibition through the magic lantern, john frederick bailey, mr isaacs, f l reeves, a w jessep, history of the rose, plants, trees, diseases

Wooden VSF Roll of Honour board 1914-1919 including gum nut & tree root fretworkHonour Boardvsf, victorian school of forestry, creswick, roll of honour, first world war, wwi, great war, 1914-1918, students

On 4th August 1978 the construction of the Goonawarra Estate commenced. The estate was formerly known as the Goonawarra Farm and overlooked the Sunbury Township and the Jacksons Creek Valley. Plans for the development included a golf course, houses and community and recreational facilities. The golf course opened in 1980 and the housing construction continued throughout the last two decades of the twentieth century and into the twenty first century.A coloured photograph of the clubhouse at the Goonawarra Golf Course taken from the 10th fairway. Parked cars are visible on the RHS of the photograpg and there is a row of gum trees behind the clubhouse.goonawarra golf club, goonawarra farm, goonawarra housing estate, housing developments, sharkey, robert b., kilkenny homes, australian ideas homes pty.ltd., glamor homes, craftsmen homes., villa bella homes, george evans collection

On 4th August 1978 the construction of the Goonawarra Estate commenced. The estate was formerly known as the Goonawarra Farm and overlooked the Sunbury Township and the Jacksons Creek Valley. Plans for the development included a golf course, houses and community and recreational facilities. The golf course opened in 1980 and the housing construction continued throughout the last two decades of the twentieth century and into the twenty first century.A coloured photograph of the clubhouse at Goonawarra Golf Course as seen from the 10th green. A small white van is parked ouitside the building. There is a line of trees behind the clubhouse.goonawarra golf club, goonawarra farm, goonawarra housing estate, housing developments, sharkey, robert b., kilkenny homes, australian ideas homes pty.ltd., glamor homes, craftsmen homes., villa bella homes, george evans collection

On 4th August 1978 the construction of the Goonawarra Housing Estate commenced. The estate was formerly known as the Goonawarra Farm and overloked the Sunbury town area and Jacksons Creek valley. Plans for the new development included a gold course, housing, community and recreational facilities. The construction continued througout the last two decades of the twentieth century and into the twenty first century.A coloured photograph of the clubhouse taken from the south west at the Goonawarra Golf Club. The surrounding garden has been planted out with trees and has been mulched. A green car is on the LHS of the photograph.goonawarra farm, goonawarra golf club, goonawarra housing estate, sharkey, robert b., kilkenny homes, australian ideas homes pty.ltd., craftsmen homes., glamor homes, villa bella homes, george evans collection

A number of houses were built within the Sunbury Asylum grounds to house administrators and staff, and their families, who worked at the asylum. After the asylum was closed down and the main asylum buildings were taken over by Victoria University, the surrounding land was developed for housing by the Urban Land Authority, the administrators houses were demolished.A black and white photograph of two bungalow style houses built along a formed but unsurfaced road. A Mini-minor car is parked on the grass outside the first house and a Holden sedan is parked by the curb outside the other house. There are trees growing along the nature-strip and in the background.Written on the back in penci: 1139-8lsunbury asylum, wishart, chas. h., george evans collection

B/W Photo The Reefs Hotel and Assembly Hall Pleasant Creek with Bullock team in front. 1858 -1861 Three windlasses over mineshafts can be seen, two on the left and one in front of the assembly hall. Some horse driven Whims can be seen in the background above the Assembly Hall.Earliest known photograph of the Reefs Pleasant Creek.Several buildings in mining area with trees in background, one building labelled The Reefs Hotel. Spoil heaps in foreground with other mining activities and with bullock team and cart. Man can be seen standing on slab hut roof at centre and woman in street. stawell

PORT PHILLIP GOLD MINE CLUNES. GOLD WAS DISCOVERED IN 1851 - CLAIMED TO BE FIRST DISCOVERY IN VICTORIA.COPY OF PHOTOGRAPH OF OLD PORT PHILLIP GOLD MINE TAKEN FROM MR. BLANDS PROPERTY - OAK AND ELM TREES IN THE FOREGROUND.OLD PORT PHILLIP GOLD MINE WHERE GOLD FIRST DISCOVERED IN QUARTZ IN AUSTRALIAlocal history, document, postcard, mining

CRISTINA WALLACE BORN IN CLUNES 1865 WHERE CLUNES MUSEUM STANDS TODAY. HENRY WALLACE WAS HER HUSBAND. HE SUPPLIED TIMBER FOR THE MINES. MRS. WALLACE HAD THE FIRST SEWING MACHINE IN CLUNES WHICH SHE DONATED TO THE MUSEUM1, SEPIA TONED PHOTOGRAPH OF CHRISTINA WALLACE AND GEORGE VINGE. 2, CRISTINA WALLACE 3, ELIZABETH WALLACE [BESS] 4, LETTER FROM P. McNAMARA EXPLAINING POTION OF FAMILY TREE AND DONATING HAND MACHINE TO MUSEUM there are three distinct photos and a letterlocal history, photography, photographs, wallace family

PROBABLY TEAM RIDERS - F.MILES, P. LEONARD, W. THOMAS, R. WHITFORD, B. FINLAYSON, W. BOWRICK, LUFF, F. ROBINSON, J. COZENS, P. HOTCHINS, PAKEHA MC.1 ORIGINAL SEPIA PHOTOGRAPH BICYCLE RIDERS AND SUPPORTERS IN FRONT OF TREES. .2 BLACK AND WHITE PHOTOGRAPH - COPYCLUNES BICYCLE CLUB ROAD RACE. 14 MILES. W. RICHARDS FIRST R. WHITFORD SECOND, W. THOMAS THIRD.photographs, clunes bicycle club, road race

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

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

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. 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. 'Life world of the Longicorn beetle' 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 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. 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. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

The Deep Lead Cemetery. The grave under the Cypress trees is that of John McClure B.A. who died in 1859 at the age of 46 years. He was the first clerk of petty sessions at Pleasant Creek and was one of the first buried at the deep lead cemetery which at the time was reserved but not fenced.Colour Photograph of a grave under cypress trees in bushlandGrave of John McClure at Deep Lead Cemetery

The Deep Lead Cemetery. The grave under the Cypress trees is that of John McClure B.A. who died in 1859 at the age of 46 years. He was the first clerk of petty sessions at Pleasant Creek and was one of the first buried at the deep lead cemetery which at the time was reserved but not fenced.Colour Photograph of a four grave sites

Rev. Philip Homan (Anglican) in 1858. Anglican minister for Ararat. He conducted services in the Stawell District. He arranged for the necessary materials for the erection of a church of England School building. This was built on an area known as One Tree Hill, Stawell West. This photograph is a copy taken from A.1300K. Copy made by A. Attrill. Oval sepia photograph of a gentleman with a long beardThe first Vicar: REV CANON PHILIP HOMAN, 1856-188Xstawell church

The Emerging Writer is an insider’s guide to the craft, philosophy and politics of being a writer. Whether you’re facing your first blank page or negotiating a publishing contract, this book is full of indispensable advice for any emerging writer hoping to turn their seedling of an idea into a mighty tree. The Emerging Writer - Volume Two was published in 2013 and edited by Andre Dao.A book with a red and white cover, with cartoons depicting a small plant growing into a large tree.emerging writers' festival, 2009, literary programming, the wheeler centre, the emerging writer, books, andre dao, 2013

WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming

Auction brochure for 56 Glenburnie Road, Mitcham, 22 November [1998], 3bedroom brick veneer house built mid 1960's. Agent, Cody First National, Boronia Road, Vermont.glenburnie road, mitcham, no 56, auctions

The Northern District School of Nursing opened in 1950 in to address the issues around nurse recruitment, training and education that had previously been hospital based. The residential school was to provide theoretical and in-house education and practical training over three years. The students would also receive practical hands-on training in the wards of associated hospitals. The Northern District School of Nursing operated from Lister House, Rowan Street, Bendigo. It was the first independent school of nursing in Victoria and continued until it closed in 1989.Black and white photograph of four nurses in casual clothes, with the brother of another nurse, thought to be taken on the top of One Tree Hill Lookout Bendigo. 1955 - 57 Names written on back. L to R - Heather Midgley, Hugh Church (Del Church's brother), Elaine Sweeney, Vera Hoensch, Margaret Arnoldt ? on top of One Tree Hill, Bendigo ? 1955-57four student nurses in casual clothes and the brother of another nurse., ? on top of one tree hill lookout.

This was the site of some of the first vines that were planted in the Rutherglen grapegrowing area. It is no longer operating as a winery. Established in 1858, Gehrig's is the oldest family winery in Victoria.Black and white photograph with a view over a vineyard. Trees and building with a square tower in the backgroundOn back of photo: "Gehrig's"wineries, north east victoria, wine industry, gehrigs winery

This was the site of some of the first vines that were planted in the Rutherglen grapegrowing area. It is no longer operating as a winery. Established in 1858, Gehrig's is the oldest family winery in Victoria.Black and white photograph with a view over a vineyard. Trees and building with a square tower in the backgroundwineries, north east victoria, wine industry, gehrigs winery

Greatly relieved by his son’s safe return from war, John Richard Stanton (1872-1955) buys a parcel of productive farming land for his son John Charles “Jack” Stanton (1895-1989) to give him a “good start in life”. Jack’s wife Ethel Capper, devised the name “Gracerray” for the property to honour her sister Grace and the nearby Murray River. After the First World War, fourth generation Jack Stanton (1895-1989) with the help of his father started building a new winery (at the current site of the winery and cellar door) called ‘Gracerray’ named after his wife’s sister Grace and the Murray River. It is pronounced “Grah-sair-ray”. Jack built Gracerray around some existing cement open top vats from a winery that was demolished after phylloxera ravaged the region in the late 1890s. He used second hand materials from the defunct Great Southern gold mine and propped up the roof with huge tree trunks. Jack only made fortified wine up until the 1960s when he and his son-in-law Norman Killeen started making red wine to meet changing Australian tastes.Black and white portrait photograph of a mature man in suit and tie.On back of photo: "145% [upper case E in small circle] J.C. Stanton" wineries, north east victoria, wine industry, j c stanton, stanton & killeen winery, jack stanton