watercolourlandscape, farmhouse, watercolour, charles douglas richardson, cd richardson, c douglas richardson, sky, trees, vegetation

James Tyson was born in Sydney in 1823. Along with his brother the operated a wholesale and retail butchery in 1852, slaughtering cattle from their property near Balranald. He had worked his way up from farm labouring to droving cattle and initially had a property at the junction of the Lachlan and Murrumbidgee Rivers in 1846. With the discovery of gold he began droving cattle to Bendigo in 1851. He extended his holdings throughout NSW, Gippsland and then into Queensland where he died in 1898. Along the way he had become a millionaire.Nineteen pages of research on James Tyson and family.james tyson, tyson family history

Shows Melbourne Electric Supply Co. tram No. 2 after its reconstruction to an operable condition at the Museum's St Aidans Drive terminus on 10-11-2020 following transport from Bendigo where the mechanical work was carried out. The body work was rebuilt from a farm shed in Canberra.Yields information about the appearance of the tram when it was delivered to the Museum. Further work was done to complete the interior.Digital image of Geelong tram No. 2 after its reconstruction and recommissioning at the St Aidans Drive terminus of the Museum's tram line on 10-11-2020geelong, mesco, trams, tramways, geelong no. 2, reconstruction, restoration, wendouree parade, st aidans drive, btm

The ruler was used in a farm in Natimuk. The decorated side served as advertising for the McKay harvesting machines used in large farms in La Pampa, a fertile agricultural land in Argentina. In Australian Dictionary of Biography: "'Sunshine' harvesters were dispatched to South Africa, and in 1901 Sam and three Ballarat experts went to the Argentine where they demonstrated 'La Australiana' on a variety of crops so effectively that they soon threatened the trade in North American reaper-binders and headers."Foldable foot ruler: on one side (light yellow) is the ruler and the other side (light blue) are some inscriptions about H.V. Mckay and a farm (estancia) in Argentina, opposite is a reproduction of a photograph of harvesters taken in the fields of this estancia.On one fold: H. V. McKay's "Sunshine" harvesters harvest the grain on the largest wheat farms in the world. The estancia of the Company Rural Bremen (Sociedad Anonima), Cochico, Guamini, Argentina, South America. Opposite fold: Total area: 108.000 acres Fifty Sunshine harvesters, 6 ft. comb. were purchased (the photograph was taken at the termination of the work).hugh victor mckay, sunshine harvesters, agriculture, farming, argentina, la pampa, la australiana, natimuk

This is one of eight embroidered panels, completed during the 1988 Australian Bi-Centennial, and carried out under the auspices of City of Kew Council and the Kew Historical Society. Nearly 600 residents, including many children, participated in their production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart / Co-ordinator: Dorothy Benyei.3. East Kew State School. A framed embroidery created by adults and children of the City of Kew as a Bicentennial project, based on a design by the artist Joy Stewart. Five of the six completed embroideries created in the project are/were displayed in the Kew Library. [The five embroidered panels have now been temporarily removed for conservation reasons].Inscription: "EAST KEW STATE SCHOOL / Typical country school attended by children from surrounding farms and market gardens." Embroidered signature of the artist: "(c) JStewart, 1988"bicentennial project (kew), joy stewart, charles grimes expedition, australian bicentennial

Kilby Lodge (c.1845-c.1922). William Oswin purchased Crown Land Lots 52 & 53 in 1845. These lots ran north from an old bullock track [later Kilby Road] to the Yarra, and east to Burke Road. Oswin purchased a neighbouring Lot in 1851, separated by the bullock track from the rest of the farm. Oswin built ‘Kilby Lodge’ and, with his brother, farmed dairy cattle on the site. Oswin’s descendants owned the farm into the 1890s. New subdivisions of Kilby and neighbouring farms in the 1920s changed the rural nature of north Kew. Housing and large recreation reserves replaced dairy farms and market gardens. This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.A panoramic photograph of Kilby (or Oswin's) Farm in East Kew."Kilby Farm when Oswins owned it. Commenced 1845."kilby farm, kilby lodge, william oswin, dorothy rogers, kew east

Kew Tapestry The eight panels depict the history of Kew. This was a 1988 Australian Bi-Centennial Project carried out under the auspices of City of Kew Council and the Kew Historical Society Incorporated. Nearly 600 citizens including many children participated in the production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart Co-ordinator: Dorothy BenyeiSydney Joy (Joy) Stewart was born in Melbourne 1925. She studied at Swinburne Technical College Art School from 1941-1945, then the National Gallery Art School 1946-1948. Her career included employment positions as a display artist, designer/painter, gallery assistant, and art teacher. Joy relocated to Cairns in 1981. Solo exhibitions in Melbourne and Cairns, including 'Done By Me' at Cairns Regional Gallery in 1999. Group exhibitions at Cairns Regional Gallery, 'The Fish John West Regrets, 1993' and 'Facets of Life' 1994. Joy Stewart died in Cairns in 2018.3. East Kew State School. A Handcoloured cartoon created by the artist Joy Stewart as a template for the third of a series of embroidered panels depicting the history of Kew. Wool colour codes at left. Inscription: "EAST KEW STATE SCHOOL. Typical country school attended by children from surrounding farms and market gardens". Signed by the artist "(c) JStewart, 1988"bicentennial project (kew), joy stewart

The historian Dorothy Rogers records (A History of Kew, p.5) that "In 1888 he [Arthur Wills] took over his estate, 'Willsmere', and conducted it as a dairy farm. He was an architect by profession, and having established the farm he rented it, and returned to live in Barry Street, Kew, where his only child, Dorothy was born in 1889. He entered Kew Council in 1891, and three years later built a new house in Fellows Street, on land that Thomas had purchased at the 1846-47 sales. He became Mayor of Kew in 1896-97, and during his term of office sold this house and built the present 'Willsmere' [pictured] on the corner of Willsmere and Belford Roads. ... Never a house of great distinction, it has now been demolished to make way for a freeway."This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.Willsmere, the home of the Wills family of Kew, designed by the architect Arthur Wills, circa 1896. arthur wills, willsmere, belford road, willsmere road, dorothy rogers, kew, wills family

Large work-horse shoe with eight square nail holes.rural industry, agriculture, horse, shoe, hoof, farm, draught

Large work-horse shoe with eight square nail holes.rural industry, agriculture, horse, shoe, hoof, farm, draught

The photo is of ‘Spenceycroft’ at 654 Canterbury Road, Surrey Hills. For many years this home was hidden behind a large fence sheltering it from the noise of traffic along Canterbury Road, however it dates back to the very early days of settlement in the Surrey Hills area. Canterbury Road was then known as Delany’s Road. ‘Spenceycroft’ is thought to incorporate part of the original farmhouse built on the site by George Klepper, who planted a vineyard in the area. George’s family was one of a number of German families who settled in Surrey Hills during the later part of the 19th century. Later, the land associated with ‘Spenceycroft’ was worked as a dairy farm by James and Elizabeth Rayment. In recent years 'Spenceycroft' has been sold several times and has become increasingly derelict. Sold again in 2015 when it had become quite derelict, it was demolished and re-developed.A black & white photo of double-fronted Victorian style home with a fountain centre front and low foliage in front of the veranda. A woman is sitting by the fountain. 'spenceycroft', canterbury road, james rayment, elizabeth rayment, george klepper

The photo is of the coach house at 'St. Abbs', 33 York Street. John Inglis Lothian, publisher, bought St Abbs in 1903 and lived here with his family until 1908. Prior to this the property had been part of Isiah Ainger's farm. The San Miguel family lived there from 1911-1923 and in 1926 Thomas Lothian bought 'St Abbs' and his family lived there until 1974. As the donor was Miss Jean Lothian it is assumed that the photo was taken during one of the periods the Lothian family occupied the property and more likely during the earlier period. A black and white photograph of a wooden building with a number of doors and windows with lattice work in place of glass. There is a concrete area in front of the building and a ladder leaning up against the building at the right hand end.york street, surrey hills, 'st abbs', house names, san miguel family, ainger farm, lothian family, coach house, isiah ainger, thomas lothian, john inglis lothian

"Dennys, Lascelles Limited 1857-1957 Annual Wool Report and Centenary Review". Apart from the annual report, this booklet also contains a brief history of Dennys, Lascelles Limited from its founding in 1857 up to 1957. A copy of both the ‘Dennys Lascelles Limited 1857-1957: Annual Wool Report & Centenary Review’ & ‘Staff Reunion Souvenir Programme, 1988’ was donated to the museum in 2021. These were duplicate items so only their story was retained in addition to the image of Rita located in Multimedia. “Enclose two items which may be of interest to add to your collection. They belonged to my mother, Rita Sedgwick (nee Glenn), who died earlier this year in April. She worked for Dennys Lascelles in two separate periods. First as a young girl, who had finished her schooling, at Morongo Presbyterian ladies College, having been sent as boarder there by her parents from their farm at Mathoura (just north of Echuca). This period was from 1942 — 1947. It was her second job out of school having worked first at the then Geelong Telephone Exchange. She would commute daily to work on a bicycle from where she was then living in Drumcondra. She had the front office role of receptionist and telephonist driving an old manual switchboard. The old front desk was her domain. She departed in 1947, shortly after she was married in late 1946. She spoke fondly of her times at the company as a young girl in her late teens and early twenties. Her second stint was much later, but again as the front-desk telephonist and receptionist commencing in 1972, ending 11 years later in 1983. This was a period when Sir Henry Bolte was on the Board, Don Urqhuart was MD, Ray Hobson was General Manger, Cliff Bone the company Secretary, Peter Keys the CFO and Jim Hay was also on the Executive team. While there were some 25 years between her periods of service, she welcomed the chance to re-join the company. Again, it was a time of hard work, and good friends. The busy times were the wool auctions, when the Firm would be visited by representatives of the big Japanese trading houses such as Mitsui, and Kanematsu. The Chief Auctioneer, Mr. Reeves (I can't recall his first name), would hold court at the now demolished Geelong Wool Exchange — I saw him in action once — what a sight. The huge show floors in the Denny's building would be full of open bales and samples for the buyers to inspect, and for mum days would start at 0800, and finish at 1800 or later. In quieter times over summer, it was reported that the empty show floor would provide an excellent arena for the more enthusiastic cricketers to get in a bit of practise with a tennis ball at lunch and after closing time! Dennys was a full-service firm for wool growers, with branches all over the Western Districts as far afield as Mt Gambier, but through Timboon, Warrnambool, and the like, as I am sure you are aware. She also saw the merger of Dennys and Strachan to create DSM, and later the amalgamation with AML&F to create Dennys AML (I think). She saw the change from the old manual switch board to the then latest of PABX technologies and was part of the team the relocated from the original offices to the new address on the south side of Brougham Street. Along with the shift from the large show floor-based sales of the past. She retired from fulltime work in mid-1983, again with fond memories and friendships that lasted a lifetime. I found these two items among her things recently, and felt that given her connection to the industry, and the place in which the Museum now resides you may like to add them to the collection. I hope you can find a home for them, and that they might add a little to the story that the wool museum now houses and curates.” "Dennys, Lascelles Limited Annual Wool Report and Centenary Review, August 1957". Apart from the annual report, this booklet also contains a brief history of Dennys, Lascelles Limited from its founding in 1857 up to 1957.Dennys, Lascelles Limited Annual Wool Report and Centenary Review, August 1957wool brokering, wool growing, dennys, lascelles limited

Henry MORITZ (1931- ) Born Mainz, Germany Arrived Australia c1952 Henry Moritz was an experienced commercial artist when he left Germany for Australia. After working as a railwayman, coal miner, fruit picker and steelworker, he started teaching commercial art at the Ballarat School of Mines Technical Art School in 1963. He moved to the Mount Helen Tertiary Division, and was head of the Art School at the Ballarat College of Advanced Education (BCAE) when he produced this work. The Ballarat College of Advanced Education logo was derived from the Southern Cross depicted on the Eureka Flag, which was adopted by Ballarat College of Advanced Education in 1978. The logo was designed by former student Debra Garton, who graduated with a Diploma of Art and Diploma of Education. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Farmed marquetry using fine woods chosen for their grains and reflective properties: silver ash, cedar, queensland walnut, grey bird's eye maple and African gaboon.art, artwork, henry moritz, marquetry, logo, southern cross, ballarat college of advanced education, available, stars

"This work, 'Vertigo', was done in my final year of study. I had begun to focus on landscape, and this painting tries to capture an amalgam of bits and pieces from where I grew up in a playful way."Nick DRIDAN (1988- ) Nick Dridan grew up on a farm in Amphitheatre. Studying Visual Art at University of Ballarat's Art Academy (Now Federation University) Nick Dridan completed a Bachelor of Fine Arts (2007-2009) and Honours (2010) at University of Ballarat (now Federation University). This work was done in 2010 when the artist was focusing on landscape. 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. A landscape painting where a bare tree stands in a hilly, golden landscape. To the right a man and a house appear to have been ejected into the air. art, artwork, nick dridan, landscape, available

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Two objects hang from a timber structure.graeme drendel, printmaking, silkscreen

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Two objects hang from a timber structure.graeme drendel, printmaking, silkscreen

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. A etching of a man with a man size goose.graeme drendel, printmaking, goose, fauna

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. Three etchings showing aspects of a room.graeme drendel, printmaking

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching with pig. This work was completed during Graeme Drendel's final year at Melbourne State College where he was studying Secondary Art and Craft Teaching and majoring in Printmaking.graeme drendel, printmaking

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching with a man carrying a calf. graeme drendel, printmaking, calf, cow

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching with a man carrying two milk buckets.graeme drendel, printmaking, bucket, milk, farmer

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An etching of a male doctor or surgeon. graeme drendel, printmaking, doctor, surgeon

Graeme DRENDEL (1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who believes you should paint what you know. He studied Art Teaching at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing a Diploma of Teaching Art and Craft at Melbourne State College in 1974. While studying in Ballarat Graeme lived in the student hostel 'Beaufort House'. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. The isolation he portrays through his characters may relate back to the isolation he felt on the wheat farm he grew up on. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is regularly a finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. graeme drendel, printmaking

SUMMARY - Schutt & Barrie Chaff Mills Partnership West Footscray, Parwan and Diggers Rest. Mary nee Barrie Robinson (1907 –1999) writes c1980 about her father Charles Ernest Barrie of Darlingsford Melton (1871 – 1931) Extract copied from her handwritten story - My father was born in Ballarat in 1871. … commenced his working life with a team of bullocks and a chaffcutter in the St Arnaud district, a work the he became most success at and would continue in to the end of his life. He eventually became the owner of a chaff mill at Melton station with an access line to the railway. [1900] The Schutt & Barrie partnership ….Dad later became involved in a Chaff mill at West Footscray run by John Ralph Schutt who when he met Dad was a very sick man and had begged Dad to come into the business and help him. That began a very happy association, the business was put on its feet. An empty quarry across Geelong Road opposite the mill was purchased, the chaffcutters were set up in the quarry and that was the start of a very busy and prosperous period. A branch line was run into the mill. Dad spent some afternoons at the mill going by train, and spending some hours there at night, at the same time running the farm with full time help. Two full 8 horse teams were used to work the land, which meant early rising for the horses to be fed and harnessed ready for the men to commence the days work. Charlie Lowe and Murdock Davey were two of the men who worked for Dad in those years. The firm purchased a mill at Parwan and Dad spent a lot of time and energy getting it running to their satisfaction. Monday was the day he spent time there also round the district of Parwan and Balliang. He came to know many of the their names were well known in our household for many years. [1920] Later a flour mill was built beside the Chaff mill at West Footscray but it never thrived like the mill. The chaff mill had many loyal and good men employed there and there was never any trouble between men and management. Willie Walters and Miss Renyolds were some I remember, other names me, Joyce would be able to name them. [Sister of Mary born 1920] Sample envelope from the businesslocal identities

This document is has been compiled by Wendy Barrie daughter of Ernest (Bon) and Edna Barrie and granddaughter of Charles E and Jessie M Barrie. Ernie Barrie operated a travelling Chaff Cutter in the St Arnaud area where his parents William and Mary Ann had taken up land at Coonooer West in 1873. Ernie commenced his working life with a team of bullocks and a chaff cutter. The earliest connection he had with Melton was in 1887. By the beginning of the 20th century Ernie and his father William and brothers, William, Samuel, James Edwin,[Ted] Robert, Arthur and Albert have been associated with farming and milling in the Melton district. In the early 1900’s Ernie and his brother Ted were in partnership in a Chaff cutting and Hay processing Mill on the corner of Station and Brooklyn road Melton South. The mill was managed by William for a time. By 1906 Charles Ernest and James Edwin were in partnership in the Station Road mill when a connecting rail line across Brooklyn Road for a siding was constructed to the Melton Railway Station. In 1911 the Mill’s letterhead shows C.E. BARRIE Hay Pressing and Chaff Cutting Mills. Melton Railway Station. Telephone No 1 Melton. This Mill as sold to H S K Ward in 1916 and stood until 1977 when it burnt down in a spectacular fire. Ernie built a house at Melton South beside the Chaff Mill at Station Road in 1906 and married Jessie May Lang in August at the Methodist Church. Jessie’s father was Thomas Lang. He came to Melton in 1896 and was the Head Teacher at Melton State School No 430 until he retired in 1917. They had 9 children with 8 surviving to adulthood. Jessie and Ernie had 6 sons and 3 daughters. All the children lived at Darlingsford. In April 1910 the family left Melton for a brief period and moved to a farm in Trundle in NSW. They returned to Melton and purchased Darlingsford in May 1911. For a time during WW1 they lived at Moonee Ponds near the Lang grandparents at Ascot Vale. Mary and Bon attended Bank St State School. The children developed diphtheria in 1916 and their youngest boy, Cecil died of complications. Mary and Bon were taken to Fairfield Hospital and both recovered. At the end of the war influenza broke out the family returned to Darlingsford and shared the home for a short while with the Pearcey family who had been working the farm. By 1922 the family had and grown and Edgar, Tom, Horace, Jessie, Joyce and Jim were living a Darlingsford. Ernie continued during the 1920’s working the farm and attend his many civic and community commitments. Two 8 clydesdale horse teams were used to work the land which meant early rising for the horses to be fed and harnessed to commence the days work. In 1916 Ernie also became involved in a Chaff Mill on the corner of Sunshine and Geelong Road West Footscray, which at the time was being run by John Ralph Schutt. It was known an Schutt Barrie. A flour mill was added at a later stage. Other Schutt and Barrie mills were situated at Parwan and Diggers Rest. Another mill was situated beside the railway line at Rockbank. The Footscray mill ceased operation in 1968 Ernie spent a lot of time and energy at the Parwan Mill and travelling around Parwan and Balliang farms, where he came to know many of the families in the district. Ernies commitment to the civic development to the Melton and district was extensive, he was involved with a number of large events during the 1920’s such as the Melton Exhibitions and the 1929 Back to Melton Celebrations. He was a member of the Australian Natives Association at the turn of the century. He was Chairman of the School Committee at Melton State School 430 and the Melton South State School in thw1920s. He donated the land for a Hall for Melton South in 1909, known as Exford Hall and later in 1919 renamed Victoria Hall. The Hall was demolished in 1992. He was a Councillor, JP, and Vice President and President of the Melton Mechanics Institute Hall Committee in 1915- 1916. He was a member of the Methodist Church and later the Scots Presbyterian Church. He was Superintendent of the Sunday School of the Methodist Church to 1910 and later Scots Presbyterian Church until 1931. This is reflected in the theme of children in the stained glass window which was dedicated in his memory by his wife Jessie as a gift to the Scots Church. Charles Ernest Barrie made many generous donations to many charities who supported young people and children. In 1918 Jessie and Ernie made the first donation to a very prominent Victorian charity whose work still continues. Yooralla. In July 1931 Ernie’s untimely death was a major blow to the family and the Melton community. To this day people still vividly recall the day they lined the streets for his funeral. The day of the funeral is recalled as the day Melton stood as two of their prominent citizens who tragically died on the same dayPhotograph of Charles Ernest Barrie taken from Scenes at Melton and Old Residentslocal identities

The interviews were recorded in 2000 by Bronwen Gray and Alan Young for the production of Unreserved, Stories from Truganina Explosives Reserve, animated stories from past residents, workers and interested people of the Reserve (subject to copyright 2004). Doug and Noel Grant’s Grandfather, Don Grant, was officer in charge of Truganina Explosives Reserve from 1910-1930. On his retirement, his son, William (known as Bill) took over the position until 1956. Along with their two older brothers and younger sister, Doug and Noel Grant grew up, first in the assistant manager’s weatherboard cottage and then in the brick house which was set aside for the officer in charge, until they married and moved into their own homes in their early 1920s. On returning from the second world war, Noel Grant worked as a magazine assistant of explosives on the site from 1946, When the site had closed down in 1962 he worked as an inspector of explosives at the Explosives Branch in Melbourne until he retired in 1985. During that time Noel was asked to move back on site, meaning that three generations of Grants have lived on the site during the twentieth century. Doug Grant worked for ICI/Nobel in head office in 1940 and their older brother Alan worked at the Nobel Explosive Company in Deer Park from 1937. After returning from the Second World War, Alan bought a transport business that had once had the licence to cart explosives in and around the state. They discuss their memories of the living at Truganina Explosives Reserve and the workings of the Reserve, including the names of men who worked there, ships which carried the explosives and life in and around Altona. A primary source of information on memories of the Truganina Explosives Reserve and Altona,VictoriaDigital copy of original cassette recorded in 2000 and digitised in 2018hobsons bay, altona, galvanised iron fence, picket fence, golf course, altona school, margaret grant, bill grant, explosives magazine, lighters, joe hyde, alex grant, pines scout camp, maribynong river, 1896, inspector of explosives, pier, point wilson, werribee sewerage farm, george grant, lighterman, huia, argonaut, pirie, alma doepel, merton street altona, horse, jessie grant, jean grant, sandal, kilmartin, lewis, currie, todd, robinson, balwyn