Note by T.H. Kneen 11 December 1991, "Closest to camera on left is George Russ." Mrs Hedges, Kath Keynes, Clara Broadhurst, Jean Bonnett, Kathleen Curry, Kathy Clark, Dorothy AllenderGroup of students watching a demonstration. Some of these students appear in B91.103(3). students, george russ, students outside class, pruning demonstration, espaliered pear, mrs hedges, kath keynes, jean bonnett, kathleen curry, kathy clark, dorothy allender, clara broadhurst

Note by T.H. Kneen 8 April 1992, "Operator on tractor could be Alan McLennan (Garden Instructor 1954-1969.) The citrus planting was established by Ray Harding (Dec 1958) therefore 1954-58. Students (3) not clear." Appears in article by T H Kneen (1964) B93.655 with caption "A general view of the orchard and vegetable garden at Burnley. The grass sward in the foreground is controlled by mechanical mowing and chemical weedicides."2 copies black and white photograph, one an enlargement. 3 students working in the Citrus Block of the Orchard. One is spraying from a backpack, one is mowing using a tractor and one is pruning.On reverse, "Photograph by Publicity Branch Department Of Agriculture Ref. No. D572B."alan mclennan, garden instructor, ray harding, burnley gardens, citrus trees, students working outside, orchard, tractor, spraying, mowing, pruning, publicity

Collection of stories and photographs of people living in Clunes in 2015. Published by J. Christine Rowenon-fictionSHORT STORIES ABOUT WHAT BROUGHT PEOPLE TO SETTLE IN CLUNESwords in winter, clunes storytelling, tree changers

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

Chris Pittard is a painter who has been working with clay for over 15 years. Pittard studied Fine Arts at RMIT and VCA and has exhibited paintings for a number of years. Pittard divides his time between teaching, drawing and painting and working in the ceramics studio where he creates distinctive pieces. Chris Pittard's ceramic pieces translate the narrative to the vessel. His vessels speak to us about our place and even his personal stories become more universal expressions.In early 2005 there was a flood which raged through the creeks cutting through the Shire of Nillumbik (Eltham). Not usually affected by catastrophe, these surging waters destroyed bridges and threatened roads. When the water subsided along the banks of the creek, trees had fallen, flotsam and jetsam piled up and even weeks later the long grass flattened by the flood continued to map the raging waters flow. The combination of slightly threatening and destructive forces and eerie beauty interested me. This at a time when world events of a far more horrific and tragic nature where presented to us by strangely beautiful coloured photos in our daily papers. These connections may not be obvious but it was certainly something I was thinking about while making this ceramic piece.flood, chris pittard, eltham, nillumbik

Kate Hudson's highly patterned and decorative prints reflect her love of Australian birds and flowers from her immediate environment, as well as oriental art and her training in textile design. Her work is influenced by the Australian artist (printmaker) Margaret Preston and the vases depicted in her prints are based on the ceramic works of her husband Stephen Hudson. The wattle depicted is the Acacia Terminalis (Sunshine Wattle), a shrub or small tree that grows to six meters in height. It’s an Australian native commonly found in New South Wales, Victoria and Tasmania.A reduction coloured lino print. A ceramic vase with a black and white target print at its' centre holds a bunch of Acacia Terminalis (Sunshine Wattle). The vase rests on an orange table cloth decorated in white stylised flowers. The background is light pink. Hand written in pencil: low left '8/26'; bottom centre ' Wattle and Circle Vase'; low right 'Kate Hudson' hudson, linocut print, sunshine wattle, acacia terminalis, still life, margaret preston, ceramics, textiles, orient

1996 Nillumbik Art in Public Places Award (installed late 1997). A biennial program that ceased in 2007. The program commissioned artists to make and install public art in various sites around the Shire. Award judges that year were Tony Trembath and artist Peter D. Cole. Susie Kumar has a Bachelor of Landscape Architecture degree from RMIT and Naomi Kumar has a Bachelor of Fine Art in photography degree from VCA. The Kumar sisters designed the sixty meter gently curving bench in response to the topography of the site, Conventry Oval. The sculpture is designed to describe the boundary between the formal oval and the natural creek bank and a considered relationship to the bike track and the river. It forms a link between the activities and aesthetics of its environment. The work is a comical interpretation of the utilitarian public bench. From a distance the bright red runners (the colour of the local football team's stripe) appear to float about the surrounding green. One end of the work is straight and finished. The other remains 'unfinished' hence allowing for the concept of unlimited extension. The 'legs' (steel hurdles) are arranged with a sense of movement and rhythm in sympathy with the activities happening around the work and with the stands of trees in he background. 'Benchmark' also serves as a functional purpose; providing a choice of places to sit to watch action on the oval. Stainless steel, timber (Victorian Ash) and red enamel paint. Sixty meter long red bench that gently curves in response to Conventry Oval. Bolted on top of evenly spaced stainless steel hurdles, four rows of timber runners are joined to provide unbroken continuous lengths. The bench stands on a framed bed of crushed rock (Lilydale topping).N/Abench, sport, wood, victorian ash, stainless steel, public art, ekphrasis2017

'Skin, Surfaces and Shadows' was created by Tommaso Durante in 2004 during his stay in Bundanon (gifted to the Australian people by Arthur & Yvonne Boyd - South East Australia) as international artist in residence and it was enriched during the artist’s stay in Broome (Western Australia) in 2005. On that occasion he collected the raw materials that were subsequently wrought to develop the actual bookwork.On the edge of artistic practice and philosophical inspiration, 'Skin, Surfaces and Shadows' pushes the boundaries of art, craft and design by combining digital technologies with traditional techniques and materials. Durante visually explores the surfaces of organic things (trees, surface textures, etc.) and the figurative dividing line of the shadow. The poet Wallace-Crabbe responds to these images in words. The poet and the artist flit in and out of shadows, skin and the surfaces of paper and life.(a) prints, artist's book (80 pages), ink; Somerset Book White paper (175gsm), digital images, printed in eight inkjet colour pigments, from digital files. Set in digital typefaces Utopia STD Display, Italic and Bold, Frutiger 57 Condensed, 67 Bold Condensed, and 56 Italic. Section sewn around 3 tapes. Full paper binding with blind blocking on front cover handmade head and tail bands. (b) CD of slide presentation to accompany bookwork on display Primary Insc: In black biro, signed and editioned by Tommaso Durante and Chris Wallace-Crabbe (last page '8/25 T DURANTE CWallace-Crabbe')prints, artist book, skin, surface, shadow, poetry, durante, wallace-crabbe

Family tree of local early settlers.200 page book including an index of names.delaney family, peterborough 3270, delaney's corner

7083: A Group of People standing inside the cemetery Gates. Stawell 7083-1: A Group of People looking at a fenced headstone 7083-2 A Group of people looking at a Monument with houses in background 7083-3 A groupd of people looking at graves 7083-4 A Group of people on a dirt road over a small bridge with a white ute in right foreground.5 Colour Photographs: showing a group of people at various locations lookning at graves, Monuments and a bushland setting.

Oil on canvasRecto: Signed and dated l.r. oil "John Ford Paterson 1893"forest. tree ferns.

Charcoal on paper

Associated with - Rose Series P2121

Associated with - Rose Series P1454