Three colour photos of Pioneer Walk located between Main & Church Streets Stawell, photos taken in November 1992. One photo is of Big Hill and the other two of people and scenes and mining in Stawell.Three colour photos of collages decorating a walkway. The scenes are of people, building and landscapes. Copies also found in Album 4, p.49-50.151 Stawell History Mural, eft panel. Nov. 1992 151 Stawell Mural in Pioneer Walk Nov/92 151.1 Stawell Mural, center section Big Hill view. Nov.1992stawell

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

Nimons Bridge was built in 1890, as part of the then Ballarat-Linton railway. The bridge is 17 spans with tall timber piers of four driven piles each, with triple sets of diagonal cross-bracing and walers and a single row of longitudinal horizontal bracing between piers. The spans are of a uniform twenty feet (6.1 metres), originally supported by four 21-inch x 9-inch (535 mm x 230 mm) Kauri timber beams per span, following the standard V.R. design of the period. When the superstructure was rebuilt after the 1953 fire, the timber beams were replaced with two 24-inch (610mm) deep rolled-steel-joists on each span. These are marked 'Lancashire Steel Co., Scotland' and are believed to have been second-hand. The deck of transverse-timber planks is 103.6 metres in length. Overall the bridge has an impressive appearance with its exceptionally tall triple-cross-braced piers creating a 'three-tiered' effect, with the deck 19.2 metres above the Woady Yaloak River. The Ballarat-Skipton line closed in 1985. Nimons Bridge has been recently restored, as part of the Ballarat-Skipton Rail Trail. How is it significant? Nimons Bridge is significant for technical, historic and aesthetic reasons at a State level. Why is it significant? Nimons Bridge is technically significant as Victoria's fourth-tallest timber trestle bridge when built, and as the third-tallest surviving example. It is also the second-largest composite bridge combining traditional timber piers with RSJ spans and a timber deck and falls within a select group of fewer than ten timber railway bridges with horizontal longitudinal bracing between the piers and three sets of double cross-bracing on its tallest piers, creating a visually striking 'three tiered' effect that enhances its viaduct form. Nimons Bridge is historically significant as having served initially the mining community at Linton, then the Western District agricultural area and in later years a kaolin quarry at Pittong. Nimons Bridge is historically significant as a representative of the 'light' branch line methodology that stimulated the explosion of railway construction in Victoria during the 1880s, and provides an interesting contrast with the more solid and vastly more expensive railway viaducts built in similar terrain on Victorian main lines, at Moorabool and Taradale, in the late 1850s. Approached by a deep cutting and high embankment at either end, the bridge represents a very cost-effective late 19th century engineering solution to the characteristic physiography of western Victoria with flat basalt plains intersected by deep wide valleys occasionally subject to severe flooding. Nimons Bridge is aesthetically significant for its visually impressive viaduct form, crossing a deep and steep-sided valley that is part of a rich cultural landscape. Within close proximity of the bridge are mullock dumps, tailings, shaft sites and other relics of the deep-lead alluvial mining era. The bridge is the most visually spectacular timber-trestle rail bridge in Western Victoria and is among the most spectacular timber-trestle rail bridges surviving anywhere in Victoria. It is part of the Ballarat-Skipton Rail Trail. Classified by the National Trust :02/10/2000 (http://vhd.heritagecouncil.vic.gov.au/places/67986)Colour photograph of a log bridge known as Nimon's Bridge.ballarat-linton, nimons bridge, nimon's bridge, log bridge, viaduct, timber-trestle rail bridge

Water flowing through the tunnel at The Blowhole, Hepburnhepburn, landscape, heritage, hepburn regional park, mining, blowhole, floods, weather, geology

Fortuna Villa was initially commenced as a modest single storey home in 1861 next to the 180 Mine by Theodore Ballerstedt, who sold the mine and house to George Lansell in 1869. Lansell already owned the adjacent Fortuna Mine, and through deeper mining techniques greatly expanded the mine's operation, his personal wealth, and the house and grounds. Lansell was soon known as the 'Quartz King', Australia's first gold mining millionaire and credited as the driving force behind much of Bendigo's prosperity. He continuously added to and expanded the villa, decorating it extravagantly with the finest of artworks and materials, into a sprawling mansion with extensive landscaped grounds, to create a house and grounds of a size and grandeur with few rivals in Australia. After his death in 1907, his second wife Edith carried on with improvements, creating a house and grounds developed over 50 years. The attached mine also contributes to its significance, being one of the richest mines in Bendigo, and at one stage probably the deepest gold mine in the world at 3176 feet. The 1875 crushing works are attached directly to the mansion, and the mine's tailings and settling ponds (turned into ornamental lakes) represent a direct link between George Lansell's wealth and its source. Fortuna was compulsorily acquired by the Commonwealth in 1942 as the Cartographic Headquarters of the Australian Survey Corps during World War II, and many ancillary structures were added while preserving the main house and ornamental grounds. Victorian Heritage Database Report https://vhd.heritagecouncil.vic.gov.au/places/68334/download-reportPreliminary report of Structural assessment of Building 16 Fortuna Complex, Chum Street, Bendigo. Four page preliminary report finding the building is structurally safe as at Wed 19 December 2007 with three recommendations. Prepared for DIGO by Structural Engineers - Terry Stevens Consulting Engineers Pty Ltd.fortuna, structural assessment

Fortuna Villa was initially commenced as a modest single storey home in 1861 next to the 180 Mine by Theodore Ballerstedt, who sold the mine and house to George Lansell in 1869. Lansell already owned the adjacent Fortuna Mine, and through deeper mining techniques greatly expanded the mine's operation, his personal wealth, and the house and grounds. Lansell was soon known as the 'Quartz King', Australia's first gold mining millionaire and credited as the driving force behind much of Bendigo's prosperity. He continuously added to and expanded the villa, decorating it extravagantly with the finest of artworks and materials, into a sprawling mansion with extensive landscaped grounds, to create a house and grounds of a size and grandeur with few rivals in Australia. After his death in 1907, his second wife Edith carried on with improvements, creating a house and grounds developed over 50 years. The attached mine also contributes to its significance, being one of the richest mines in Bendigo, and at one stage probably the deepest gold mine in the world at 3176 feet. The 1875 crushing works are attached directly to the mansion, and the mine's tailings and settling ponds (turned into ornamental lakes) represent a direct link between George Lansell's wealth and its source. Fortuna was compulsorily acquired by the Commonwealth in 1942 as the Cartographic Headquarters of the Australian Survey Corps during World War II, and many ancillary structures were added while preserving the main house and ornamental grounds. Victorian Heritage Database Report https://vhd.heritagecouncil.vic.gov.au/places/68334/download-reportTicket for Fortuna Villa Tour conducted by the Army Survey Regiment and the National Trust. 31/12/1985. Black printing on yellow card.fortuna villa, tour

Fortuna Villa was initially commenced as a modest single storey home in 1861 next to the 180 Mine by Theodore Ballerstedt, who sold the mine and house to George Lansell in 1869. Lansell already owned the adjacent Fortuna Mine, and through deeper mining techniques greatly expanded the mine's operation, his personal wealth, and the house and grounds. Lansell was soon known as the 'Quartz King', Australia's first gold mining millionaire and credited as the driving force behind much of Bendigo's prosperity. He continuously added to and expanded the villa, decorating it extravagantly with the finest of artworks and materials, into a sprawling mansion with extensive landscaped grounds, to create a house and grounds of a size and grandeur with few rivals in Australia. After his death in 1907, his second wife Edith carried on with improvements, creating a house and grounds developed over 50 years. The attached mine also contributes to its significance, being one of the richest mines in Bendigo, and at one stage probably the deepest gold mine in the world at 3176 feet. The 1875 crushing works are attached directly to the mansion, and the mine's tailings and settling ponds (turned into ornamental lakes) represent a direct link between George Lansell's wealth and its source. Fortuna was compulsorily acquired by the Commonwealth in 1942 as the Cartographic Headquarters of the Australian Survey Corps during World War II, and many ancillary structures were added while preserving the main house and ornamental grounds. Victorian Heritage Database Report https://vhd.heritagecouncil.vic.gov.au/places/68334/download-reportProposal for the formation of a Fortuna Commission to ensure the preservation of Fortuna Villa. Written by Daryl McClure. May 2012fortuna villa, preservation, daryl mcclure

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Views of Victoria (General Series) No.31 / ‘View of Sailor’s Creek Bridge’ / Albumen silver photograph mounted on boardOn Reverse" ‘Sailor’s Creek as situated in the Jim Crow Ranges, which Range forms a portion of the Great Dividing Range of Mountains in Victoria. These hills contain many romantic spots. The one which forms the subject of the present illustration is a view of the Bridge which spans the Creek. Gold has been found throughout the course of the bed of this Creek in payable quantities. The diggers, as may be seen in the photograph, have constructed sluices in the side of the embankment for the purpose of washing the fine gold contained in the wash-dirt.’nicholas caire (1837-1918), sailor's creek (vic), gold mining (vic)

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘The Township of Walhalla’ : Views of Victoria (General Series) No.37 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘This romantic Township is situated near Stringer’s Creek in Gipps Land, not far from the celebrated Baw-Baw Mountains. The Long Tunnel Gold Claim has proved a great source of wealth to this small out-of-the-way place, yielding sometimes between 2,000 and 3,000 ounces of gold per month. The population, which is mostly a mining one, reaches nearly 2,000 inhabitants, and are scattered about among the creeks and gullies of the neighbourhood. Until recently, the road traffic was limited to pack-horses, in consequence of the precipitous hills which surround the Town.‘nicholas caire (1837-1918), walhalla, landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘View of the Township of Mt. Blackwood’ : Views of Victoria (General Series) No.42 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The locality which this illustration represents was formerly known as the Blackwood Forest, and has been the scene of considerable mining activity. The shallow alluvial diggings of the early days have given place to the deep sinking in search of reefs. This scene is characteristic of the wild appearance which many of the inland townships of Victoria represent.’nicholas caire (1837-1918), blackwood (vic), mount blackwood, landscape photography - victoria

Thick impasto painting depicting a landscape with three male miners. Signed (L.r) 'Eric Stewart 67'.eric stewart, painting, landscape, miner

William PEASCOD (1920-1985) Born Maryland, Cumberland, United Kingdom. Arrived Australia 1952 The son of a coal miner, William Peascod was born in England in 1920. He worked in Dapto and Wollongong from 1953-1980. Working as a lecturer in Mining at Wollongong Technical College and Sydney University, he was also an artist, writer and accomplished mountaineer. He published his autobiography ‘Journey after Dawn’ in England in 1985. During various periods between 1953-1959 William Peascod studied painting, drawing and pottery at the National Art School, Wollongong. In 1980 William Peascod returned to England. He died in 1985, while mountain climbing in Wales. 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.Painting in mixed media. art, artwork, william peascod, landscape, oils

Daphne WALLACE (1964- ) Gomaroi, Ullaroi, Wurralli, Muralli Country Wallace is a Gamilaroi/Ullaroi-Yuwaaliaay artist whose intensely coloured and textured abstract and pictorial paintings are interpretations of the Yuwaaliaay stories passed down to her by her grandmother. They are evocative of her spiritual and emotional attachment to her home in Lightening Ridge.Daphne WALLACE Gomaroi, Ullaroi, Wurraili, Muraili country Artist's statement: This painting tells of many different stories, most of them I knew growing up and some were told to me since working on the Bubbles of the Surface Project. ... Reading this landscape through Murri / Murdi eyes and our relation to country. In the top, Yurri Yurri women/people, Rainbow serpents the other side of Coocoran Lake, Bunyip waterhol near Angledool, Ants nest believed to be where Baiame laid his tow wives, where the ants ate off the slime and brought them back to life, mining fields around Lightning Ridge, Bush tucker such as bumbull, burrigan, nappan, greewee, snotty gubbuls. In the middle, Gurra the crocodile, Gurra the crocodile himself, when Baiame killed him to retrieve the two wives, a rainbow shone no him and his scales turned inot opals, left to the Narran Lake was where Baiame sat down and left his bottom imprinted in the rock. he got up and moved onto the blue mountains where his wives gave birth to the three sisters. At the botttom of the painting, Walgett council dug up two old Kings sitting up face to face with their legs crossed, with their Tin King plates around their necks; Their head bands of kangaroo teeth were still inbedded in their skulls. The water dog stories are at spots along river "don't go down thereon the bend (Namour Researve River) the water dog witll get you" Nan used to tell us. It is believed that the water dog makes whirlpools and will drown you. He makes a druming sound, which can be heard along the Namoir, Barwon, Darling, Gwydir, Mihi and the Narran River; and the Duck is part of the creation story, with the twin platypus. It tells how the water dog kidnapped her and kept her in a cave on the river bank, she escaped back to her people. They knew she was bingal therefore vanished her fro that region, she travelled to New England region giving birth to twin platypus.daphne wallace, aboriginal, gippsland campus, churchill, gomaroi, ullaroi, wurraili, muraili

Dry stone construction as a technique is used for much more than paddock walls. Across the volcanic plains of western Victoriaare marvelous sheep dips, stock loading ramps, huts, dams, retaining walls, and the rich and largely undiscovered heritage of indigenous dry stone structures. Dry stone walls indicate many aspects of our rural environment; the geological beginnings of the way the landscape was created, the patterns of early settlement by pastoralists and squatters, the types of stock that grazed the land and the methods of cattle and sheep management, of the efforts to thwart the spread of rabbits .... "For the casual but interested observer dry stone walls are good to look at, to photograph, to get up alongside and see the way they are constructed, to appreciate the varying shapes and sizes of stones and learn of the techniques of keeping often quite rounded stones in place. Apart from walls and other dry stone structures on grazing land we can also see dry stone techniques used in other places and in other phases of our history. Indigenous Australians have built, and continue to build, structures for shelter or hunting or trapping eels and fish in rivers and estuaries around the country. At spots around our coast line there is evidence of simple stone structures built by early maritime explorers. Prospectors in early mining encampments used dry stone construction to build retaining walls or the low walls of rudimentary shelters. If the future of dry stone walls in the Australian landscape is to be assured. wall owners and local governments have to accept and embrace their custodial role in assuring the preservation and celebration of walls. This is not an easy task, but, along with putting the necessary statutory mechanisms to ensure their retention, it is a task that must be pursued. The Dry Stone Walls Association of Australia has as its primary goal the increase in awareness of wall owners and local governments of the importance of dry stone walls. It also seeks to increase the level of training of skilled and semi skilled wallers, and the gaining of rudimentary skills by farmers so that they can maintain their own walls". Melton Star Weekly article about the Stone Wallslandscapes of significance

Photographs taken at the time of the purchase by Western Mining Corporation of the property owned by G.P. Daly of Raywood Road, Woodvale, in 1986. The intent of the purchase was to provide land for the Woodvale ponds. Land size was 16 acres, known as Allotment 13, Section 3, Parish of Nerring. Paper with two colour photographs attached, each of three photos joined to show landscape view, of the property purchased from G.P Daly by Western Mining Corporation. Photographs show rural land, grassy paddocks with tree line in background. Barb wire fence visible in foreground of bottom photo. Top photograph is titled 23. Daly property looking south-east. Bottom photograph is titled 24. Daly property looking north east. woodvale, g.p. daly, western mining corporation, purchase

Black and White photo. On the right is the Central Red White and Blue Mine at the corner of Lilac and Honeysuckle Sts, at the front of the photo is Fadies Whim in Nettle Street, Iron Bark. Landscape view in background most likely High Street Bendigo/Golden Square boundary. Markings/Inscriptions: Central Red White and Blue Mine, Corner Lilac and Honeysuckle Sts. Fadies Whim, Nettle Street, Photo Taken early 1900s. Central Red White & Blue Whim. On rear of photo: Evolution in mining apparatus is illustrated in this photograph - Bendigo. 2 Royal Historical Society of Victoria, Bendigo Branch stamps on rear also.central red white and blue mine, mining, lilac, honeysuckle, fadies whim, 1900s, poppet head

Fortuna Villa was initially commenced as a modest single storey home in 1861 next to the 180 Mine by Theodore Ballerstedt, who sold the mine and house to George Lansell in 1869. Lansell already owned the adjacent Fortuna Mine, and through deeper mining techniques greatly expanded the mine's operation, his personal wealth, and the house and grounds. Lansell was soon known as the 'Quartz King', Australia's first gold mining millionaire and credited as the driving force behind much of Bendigo's prosperity. He continuously added to and expanded the villa, decorating it extravagantly with the finest of artworks and materials, into a sprawling mansion with extensive landscaped grounds, to create a house and grounds of a size and grandeur with few rivals in Australia. After his death in 1907, his second wife Edith carried on with improvements, creating a house and grounds developed over 50 years. The attached mine also contributes to its significance, being one of the richest mines in Bendigo, and at one stage probably the deepest gold mine in the world at 3176 feet. The 1875 crushing works are attached directly to the mansion, and the mine's tailings and settling ponds (turned into ornamental lakes) represent a direct link between George Lansell's wealth and its source. Fortuna was compulsorily acquired by the Commonwealth in 1942 as the Cartographic Headquarters of the Australian Survey Corps during World War II, and many ancillary structures were added while preserving the main house and ornamental grounds. Victorian Heritage Database Report https://vhd.heritagecouncil.vic.gov.au/places/68334/download-reportConservation report for the Pompeii Fountain & Adjacent Structures at "Fortuna" Chum Street, Golden Square, Victoria. Prepared for Fortuna Historical Committee. March 1996.Halina Eckersley, Architect & Conservation Planner, Kewpompeii fountain, greenhouse, fortuna lake, gardens

Built by noted artist Theodore Penleigh Boyd, father of architect Robin Boyd. Covered under National Estate, National Trust of Australia (Victoria) Local Significance and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p111 The Robins at Warrandyte,* was once home to a member of a famous family and is also one of the first reinforced concrete houses in Victoria. The builder, Theodore Penleigh Boyd, born in 1890, was a talented painter1 noted for his works of the Warrandyte bush. He was the father of architect Robin Boyd, author of the Australian Ugliness and the uncle of painter, Arthur Boyd. Penleigh Boyd’s great grandfather was Sir William A’Beckett, Victoria’s first Chief Justice. Penleigh Boyd is considered by some to be an ‘unsung hero’ overshadowed by more famous members of his family. Mornington Gallery Director Andrea May said many believed Boyd ‘had never received the national acclaim that he deserved’.2 Classified by the National Trust3 and part of the Australian National Heritage,4 The Robins is set well back near the end of Kangaroo Ground – Warrandyte Road, unobserved by passers-by. Built in 1913, The Robins has some Art Nouveau influences and is a descendant of the Queen Anne style. It is covered in stucco and has a prominent attic, which Boyd used as a studio. Some parts of the house are up to 33 centimetres thick and built in part with pisé (rammed earth) and in part with reinforced concrete. Amazingly, Boyd built The Robins without an accessible driveway, and only a narrow track along which he had to cart building materials. The journey was uphill and Boyd terraced the land with Warrandyte rock5 without the aid of machinery. At only 33 years, Boyd was killed in a car accident in 1923. He was buried in Brighton near the home of his parents. Several people have since owned the house, including political journalist, Owen Webster. Boyd was born at Penleigh House, Wiltshire, and studied at Haileybury College, Melbourne and The Hutchins School, Hobart. He attended the Melbourne National Gallery School and in his final year exhibited at the Victorian Artists’ Society. He arrived in London in 1911 and his painting Springtime was hung at the Royal Academy. He painted in several studios in England and then worked in Paris.6 There he met painter Phillips Fox through whom he met artists of the French modern school and also his wife-to-be, Edith Anderson, whom he married in Paris in 1912. After touring France and Italy, the couple returned to Melbourne. In 1913 Boyd held an exhibition and won second prize in the Federal Capital site competition, then the Wynne Prize for landscape in 1914. In 1915 Boyd joined the Australian Imperial Force, and became a sergeant in the Electrical and Mechanical Mining Company. However he was severely gassed at Ypres and invalided to England. In 1918 in London Boyd published Salvage, writing the text and illustrating it with 20 black-and-white ink-sketches of army scenes. Later that year he returned to Melbourne, and, despite suffering from the effects of gas, he held several successful one-man shows, quickly selling his water-colour and oil paintings. In his short career Penleigh Boyd was recognized as one of Australia’s finest landscape painters. He loved colour, having been influenced early by Turner and McCubbin. His works are in all Australian state galleries, the National Collection in Canberra as well as in regional galleries.7 His wife Edith was also an artist having studied at the Slade School, London, and in Paris with Phillips Fox. After her marriage she continued to paint and excelled in drawing. In later years she wrote several dramas, staged by repertory companies, and radio plays for the Australian Broadcasting Commission, in which she took part. She was the model for the beautiful red-haired woman in several of Phillips Fox’s paintings and the family hold three of his portraits of her. *Possibly named after the Aboriginal words warran, meaning ‘object’ and dyte, meaning ‘thrown at’.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, kangaroo ground-warrandyte road, north warrandyte, the robins