Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 26 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. John Chapman has written in 'Bushwalking Clubs - A Brief History', about the establishment in Victoria of the first bushwalking club in 1888, and the popularisation of bushwalking during the interwar period. Henry Christian's 'walks' appear to have been undertaken solely or with a companion/s. On a trip to Marysville in 1926, he poses a figure in a landscape between two tall tree ferns with Eucalypts in the distance."Marysville / 1-1926"henry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums, bushwalking, marysville

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 26 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. John Chapman has written in 'Bushwalking Clubs - A Brief History', about the establishment in Victoria of the first bushwalking club in 1888, and the popularisation of bushwalking during the interwar period. Henry Christian's 'walks' appear to have been undertaken solely or with a companion/s. On a trip to Marysville in 1926, he focuses his camera on the sculptural qualities of tree ferns and the effect of light on their fronds. "Marysville / 1-1926"henry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums, bushwalking, marysville

Henry Beater Christian (1886-1962) , was a descendant of one of the earliest settler families in Kew. Employed at the Kew Asylum as a 'public servant', he was a skilled amateur photographer, photographing numerous scenes in Kew and on his travels around Victoria. The majority of his photographs date from 1916 to 1929. His finest photographs are housed in two photograph albums. Digital copy of a photograph from page 26 of the 47-page photograph album containing 261 gelatinous silver images, loaned by Diane Washfold with permission given to digitise and hold a copy in our collection. John Chapman has written in 'Bushwalking Clubs - A Brief History', about the establishment in Victoria of the first bushwalking club in 1888, and the popularisation of bushwalking during the interwar period. Henry Christian's 'walks' appear to have been undertaken solely or with a companion/s. On a trip to Marysville in 1926, he focuses his camera on the sculptural qualities of tree ferns and the effect of light on their fronds. "Marysville / 1-1926"henry beater christian (1886-1962), landscape photography, christian-washfold collection, photograph albums, bushwalking, marysville

B&W photo of a scene in Belgrave, taken Easter 1922 presumably by Miss Field. The view is of Beauty Bend on the Monbulk Road where it crosses a small gully. Two men and a woman are standing on the near side of the fenced-off gully, another group people, perhaps two men and four women and girls, are sitting and standing on the far side of the gully, and a further two people are at the right of the photo. There are trees and tree ferns in the background and two signs are visible, attached to trees and possibly pertaining to a guesthouse further up the hill and accessible by a path which is just visible. On the back of the photo 'Belgrave Easter 1922' is written in pen.

Sepia-toned postcard showing Monbulk Rd, Belgrave, presumably heading towards Kallista. Road is unmade. Trees and ferns growing along side of the road. The ground slopes downhill from left to right. At a bend in the road a stretch of wooden barrier is visible near a gully.

Sepia-toned postcard featuring Monbulk Road, Belgrave, presumably heading towards Kallista. Very tall fern trees on left side of road. Road not made.

This is a photo of Beth and Ida Johnson (now Ida Stanton).The photo shows two women posed for a photo. The woman on the right is standing; she is wearing what appears to be frilly, full length under-garments, a rough cloth jacket and a lace cap. She is wearing glasses, has blond wavy hair and is holding an open, folding fan. The woman on the left is seated; she is wearing a dark coloured dress or tunic with a frilly petticoat showing from the knees down. She also has a frilly cap on and is wearing glasses. She has long hair tied in two ponytails or plaits and she has a book on her knee. Behind them is a corrugated iron wall and a tree fern.people, johnson

Wendy Barrie's memories of Apollo Bay The camping trips were a yearly event after the harvest had finished. The trip down to the beach was a much-anticipated event heading out through Parwan and to Geelong leaving behind the hot and dusty plains and our parents relieved to have the hard work of harvesting left behind. The Otways in the distance were reached with great anticipation, Mum in the car and Dad in the Truck ahead of us anxiously winding through the narrow roads and negotiating the hairpin bends and breathing in the cool fresh air of the forest, and keeping an eye out of the log trucks that might come sweeping the corner. The tree ferns with their dripping moisture and the giant trees and the unmistakeable small of the eucalypts. Great excitement was when we caught our first view of the sea from the highest point of the road and then is was the cautious drive the sea level to the sight of the blue ocean with the white of the waves crashing on the rocks and the pristine sand. The water from the Wild Dog and Skenes creek trickling onto the ocean. The tree ferns with their dripping moisture and the giant trees and the unmistakeable smell of the eucalypts. The return journey was usually taken on the Great Ocean Road, it was considered safer to be on the inside of the road. In the early days it was very narrow and passing oncoming cars was taken very cautiously. Landslides and floods sometimes meant we would take the inland route. One year the bridges were washed away and bailey bridges were erected to keep the road open. Rock falls off the cliffs were common Stops on the way home gave us our last chance for our feet in the sand and a swim in the ocean. By the time we reached the hill at Angle Sea the vast blue ocean was behind us and we trekked back through Geelong- Bacchus road and the plains of stubble and the dry grass, and sometimes evidence of burnt patches from a bush fire. The closest we came to a pool at home was the concrete sheep trough at the gate to the work sheds. It was filled with bore water pumped from the nearby windmill. Edna, Bon and their family members at their camp site in Apollo Baylocal identities

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, National Centre of Biography, Australian National UniversityAn 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.Albumen silver photograph on boardprinted in ink on support l.c.: DANDENONG STATE FOREST, AT FERN TREE GULLY. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 12. / DANDENONG STATE FOREST, AT FERN TREE GULLY. / Fern Tree Gully is one of the favourite resorts for pleasure-seekers on holiday occasions. This scene is taken / from the camping ground at the entrance to the Gully. The residence in the centre of the picture is that of the / Forest-keeper, Mr. Kennedy, who has charge of the Dandenong State Forest. The trees on the hill at the back of / the residence, through apparently diminutive, are in reality gigantic ones, measuring in many instances from 15 to / 20 feet in circumference at the base. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography, ferntree gully

Photograph with labels attached to front identifying buildings. View of the Kalorama Gap from main Road (now Ridge Road), looking across Walker's raspberry patch with Mountjoy coaching stables on the LHS and Mountjoy Guest House in centre. Price's house and shop on the RHS. This photograph has a detailed inscription on the back handwritten by John Lundy-Clarke in 1974.1908 View of the Kalorama Gap from main Road – now Ridge Road above Lot 2 of the Village Settlement. Looking across Walker’s raspberry patch with “Mountjoy” coaching stables on left. “Mountjoy” in centre. Prices house and shop on right with Hands “Beulah Tearooms” above Prices roof. On hillside beyond Hand’s is the slope now taken up by Kalorama Terrace. Walker’s well, then newly dug is in lower right hand corner below the tree fern head. Mt Kalorama is the hill top right. Track leaving Main Road left is Walker’s entrance drive.kalorama, kalorama gap, walker, beulah tea rooms, price, hand, mountjoy, mt kalorama

Puffing Billy Preservation Society 50th Anniversary sign This is the large poster board that was erected at Lakeside to celebrate the 50th Anniversary of the Puffing Billy Preservation Society in 2005. Established in 1955, the Puffing Billy Preservation Society was formed to operate the narrow gauge trains between Upper Fern Tree Gully and Belgrave following the successful Young Sun specials. With the conversion of the Upper Fern Tree Gully to Belgrave line to broad gauge track, the Puffing Billy Preservation Society was the instigator of restoring the Puffing Billy Railway from Belgrave to Menzies Creek in 1962, Menzies Creek to Emerald in 1965 and Emerald to Lakeside in 1975 and in association with the Emerald Tourist Railway Board, Lakeside to Gembrook in 1998. Historic - Puffing Billy Preservation Society - Station Sign - for the 50th Anniversary of the Preservation SocietyPuffing Billy Preservation Society 50th Anniversary sign Large rectangle metal sign - off white back ground with black lettering Puffing Billy Preservation Society 1955 - 50th Anniversary - 2005 1900 . Line opened by Victorian Railways 1953 . Landslide - Line closed by V.R 1955 . Society established 1962 . Re-opened by Society Today still predominantly volunteer - operated puffing billy, preservation society, station sign, 50th anniversary, lakeside station

Black and white photograph. View of ferns and trees. Possibly an excursion. Photographs B91.409 to B91.417 appear to have come from the same photograph album.ferns, trees, excursion, victorian rainforest

This photograph is from the album of Ivy Child. It shows her parents Ethel and Ted Child (rhs) standing on Childs Road with another couple and their two young boys. Ivy May Child (1910 – 1989) was the daughter of Arthur Edward (Ted) Child (1878 – 1964) and Ethel May Madden (1888 – 1970). Ted Child was the son of Matthew Francis Child (1839 – 1933) and Martha Jeeves (1857 – 1926). He was the grandson of one of the early pioneers Francis Child. Ivy grew up on the family property on Childs Road and took many photographs. Most of these are glued into her photo album. The album covered the years from c1927 – 1932. Ivy married Henry William Burgess (1906 – 1968) in 1944. The photographs remain in their original state in the album with individual copies made. Sepia photograph showing two men, two women and two young boys standing in the centre of an unmade rad. Ferns and trees are growing up to the edges of the road.Handwritten below the photograph in album: Child's Roadted child, ethel child, childs road, bush

A colour photograph of the Taggerty River at Marysville in Victoria.A colour photograph of the Taggerty River at Marysville in Victoria. This postcard was produced by Rosewood Photography as a souvenir of Marysville.The Cascading waters of Taggerty River The beautiful & scenic Taggerty River is a 10 minute drive from Marysville, Victoria./ Surrounded by tree ferns & mos covered rocks, the tranquil sounds of the flowing/ river are great place to visit while in Marysville. Photography & Design by/ Roswood Photography/ Mulgrave, Victoria/ [email protected]/ Tel:1300 769 922 Date Stamp 2004/ 6 PM SUNDAY/ Dear Norma & Rod/ All is beauty + peace here/ -the colours are simply/ beautiful every where./ I've done some pleasant/ walking + look forward/ to some more/ Frosty/ mornings perishing - but/ days lovely!!/ Take care - Love-/ Sar-jane A MR + MRS R McDONALD/ 24 PRINCETOWN RD/ MT WAVERLEY/ VIC 3149marysville, taggerty river, victoria, rosewood photography, postcard, souvenir

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.Albumen silver photograph mounted on boardprinted in ink on support l.c.: GIANT FERN TREES: SPLITTERS' TRACK, BLACK SPUR. / COPYRIGHT REGISTERED. printed in ink (vertically) on support reverse u.c.l.: J.W. FORBES, Agent, printed in ink (vertically) on support reverse c.l.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink (vertically) on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 8. / GIANT FERN TREES: SPLITTERS' TRACK, BLACK SPUR. / The scene which this illustration represents is situated on Morley's Creek, at the foot of the Black Spur, and is / about a mile and a half from the Township of Fernshawe. The Fern Trees in this locality are of gigantic growth, / measuring 50 feet in height, the fronds of which are from 12 to 15 feet long. This excessive growth is attributable / to the great number of springs flowing into the creek, thereby causing the surrounding soil to be in a continual / state of moisture. printed in ink (vertically) on support reverse l.c.l.: 10 Temple Court, Collins Street West.landscape photography, nicholas caire, black spur - victoria

Black and white photocopy of fountain and ferns in Lower Camp Reserve Sandhurst. It shows a garden with ferns, trees, fences an urn at right and a fountain at left. Copy of photograph held by state library. On front at top ' State Library of Victoria - pictoria image. Database '/759353/ ' Fountain and ferns in Lower Camp Reserve, Sandhurst. 'Handwritten ' LTA 38/H39358/76' Rudd Photograph.Ruddplace, landscape view, lower camp reserve sandhurst, photographs, sandhurst, garden, reserve, bendigo, photography, fountains, ferns

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, National Centre of Biography, Australian National UniversityAn 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.Albumen silver photograph mounted on board‘The subject of this illustration is situated in one of the wildest and most romantic places in the Gipps Land ranges, about midway between Mount Munday and Mount Juliet. The foliage in this locality is very luxuriant, comprising mostly Fern Trees which are interwoven with various descriptions of grasses and stunted Fern leaves. Beneath this mass of vegetation flows a branch of the Contentment Creek.’landscape photography - victoria, nicholas caire, ferngrove - victoria

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 60 photographs that comprise the series were 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 Erskine River waterfall’ : Views of Victoria (General Series) No.52 : 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 River Erskine, which empties itself into Loutitt Bay, is noted for the grandeur of its scenery. Its sources, owing to the impenetrability of the bush and the mountainous nature of the country, are unknown. They may eventually be traced a long way into the Cape Otway Ranges. An idea of the difficulty with which the present very beautiful illustration was obtained may be gained from the fact that it took our assistants, several days to convey the apparatus a distance of six miles and back. The depth of the fall is 150 feet. The foliage as seen comprises the very rare staghorn tree, the myrtle, the dogwood tree, and ferns.’nicholas caire (1837-1918), lorne (vic), erskine river (vic), 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.Views of Victoria (General Series) No.28 / ‘Scene near Dandenong, Moon’s Range’ / Albumen silver photograph mounted on boardOn Reverse: 'Moon’s Range is situated to the right of the portion of the Dandenong Range of Mountains called “Fern Tree Gully.” This Range is notable for its almost impenetrable forest of trees, the majority of them being of gigantic growth. Numerous splitters and wood-cutters obtain lucrative employment in the production of laths and firewood. Near the summit of the range are several summer residences belonging to Melbourne merchants.’nicholas caire (1837-1918), australia - landscape photography

View of the settlement of Harmony Vale taken in 1913 with the guest house Kia Ora, built by George Barber in 1909, in the foreground. This photograph has a detailed inscription on the back handwritten by John Lundy-Clarke.The settlement of Harmony Vale 1913. The large home in foreground is the Guest House “Kia Ora” owned by George Barber on Lot 25 of the Village Settlement. The house above it to the left was Richardson’s house. The home of Jeanie who had left it when the picture was taken.The buildings furthest to the right of “Kia Ora” were the homestead of Isaac Jeeves of 1863 – 1871 the building furthest right with the black opening in it was the house with the tree fern floor. The flat ground above and left of Isaac’s pointed roof barn is where the creek changed its course in the 1934 flood and destroyed £4000 worth of the Rowse family’s tulip bulbs. Above the flat is Francis Matthew Child’s homestead, in the creek to the right of which can be seen the horizontal structure of the swing bridge to the sawmill of the Childs Bros which cannot be seen but in the forest to the right of the mill (bridge) can be seen a number of logs in the mill yard. The two cleared strips immediately behind Childs home were the Richardson’s original holdings and the house in the gully at the far side of the great clearing is that of the guest house “Glenrivers” belonging to W Lucas and his wife Catherine nee Child. The Richardson homestead “Harmony Vale” is behind the forest trees in the right centre. The picture gives a full view of how the settlement was cut into the centre of the great forest. george barber, kia ora, harmony vale, barber, jeanie richardson, richardson, child, matthew child, kia-ora guest house, guest house, glenrivers

Copy of Rose Series postcard #385 showing the new Mt Dandenong Tourist Road with wooden railing fence on low side of road. Surface not yet made. This photograph has a detailed inscription on the back handwritten by John Lundy-Clarke in 1974.View downhill from the Windy Bend showing the site of the 1972 landslide. In this picture the road is running along the top edge of the wall 900’ thick of Kalorama Docite that plunges thousands of feet deep down into the earth below the Ranges and extends to Fern Tree Gully. It was once a horizontal terrace nearly ten miles square and tipped over to the left when the mountain subsided into its volcanic cauldron.mt dandenong road, rose series, windy bend, landslide

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.22 / ‘Fern Bridge Gully, Black Spur’ / Albumen silver photograph mounted on boardInscription on reverse: 'Fern Bridge Gully is situated near the summit of the Black Spur, about two miles from Fernshawe. Here the foliage is exceedingly dense, so much so as to exclude daylight in many places. This stream has derived its name from the fact of the Bridge having been constructed of large massive fern tree. The stream which flows beneath the Bridge is one of the sources of the River Watt.’nicholas caire (1837-1918), australia - landscape photography

Loco: 3A In service Monday, 4th June 1900 Livery Not painted Owner Puffing Billy Gauge 762 Status Stored 3A Built in 1900 and painted two-tone green, this locomotive was issued to the Upper Ferntree Gully to Gembrook line and was used in the line’s construction. Over the years, it saw service on the Colac to Crowes and Moe to Walhalla lines, but it saw more service on the Gembrook line than any other. It was withdrawn from service in 1955 at Upper Fern Tree Gully and sold in 1960 to the Lord Mayor’s Camp at Portsea where it remained on static display until 1977. From there it was eventually brought to Belgrave for eventual restoration. When restored, it will be returned, as far as possible to its original condition with wooden cow-catchers, original design side tanks, low bunker, no smoke-box ash chute, etc. It will also have its original colour scheme of two-tone green with white lining.Historic - Victorian Railways Locomotive Number Plate used on Steam Locomotive 3ALocomotive Number Plate from 3A made of cast metal & Brass3Apuffing billy, 3a, number plate

Historic - Victorian Railways Locomotive Number Plate used on Steam Locomotive 6A Loco: 6A In service Thursday, 18th July 1901 Livery Green Owner Puffing Billy Gauge 762 Status Preserved - Operational 6A Built in 1901 and painted two-tone green, this locomotive was issued to the Colac to Beech Forest line and was used in that line’s construction. Over the years, it saw service on all four lines, but mostly on the Colac to Crowes and Upper Fern Tree Gully to Gembrook lines. It was temporarily withdrawn from service in 1958 and returned to service at Belgrave in 1962 for the reopening of this line where it saw almost continuous service until being withdrawn in 1983. It has been restored, as far as possible, to its original condition with original design side tanks, low bunker, original size windows, etc., but a steel cow-catcher in place of the original style wooden one. It also has its original colour scheme of two-tone green with white lining.Historic - Victorian Railways Locomotive Number Plate used on Steam Locomotive 6ANumber Plate 6A Fabricated steel number board made by the Victorian Railways for locomotive 6A. 6A6a, puffing billy, number plate, victorian railways

Historic - Victorian Railways Locomotive Number Plate used on Steam Locomotive 6A Loco: 6A In service Thursday, 18th July 1901 Livery Green Owner Puffing Billy Gauge 762 Status Preserved - Operational 6A Built in 1901 and painted two-tone green, this locomotive was issued to the Colac to Beech Forest line and was used in that line’s construction. Over the years, it saw service on all four lines, but mostly on the Colac to Crowes and Upper Fern Tree Gully to Gembrook lines. It was temporarily withdrawn from service in 1958 and returned to service at Belgrave in 1962 for the reopening of this line where it saw almost continuous service until being withdrawn in 1983. It has been restored, as far as possible, to its original condition with original design side tanks, low bunker, original size windows, etc., but a steel cow-catcher in place of the original style wooden one. It also has its original colour scheme of two-tone green with white lining.Historic - Victorian Railways Locomotive Number Plate used on Steam Locomotive 6A6A Number Plate. Fabricated steel number board made by the Victorian Railways for locomotive 6A. 6Apuffing billy, victorian railways, number plate, 6a

Historic - Victorian Railways Locomotive Number Plate used on Steam Locomotive 7A Loco: 7A In service Saturday, 6th May 1905 Livery Maroon Owner Puffing Billy Gauge 762 Status Preserved - Operational 7A Built in 1905 and painted Canadian red & dark brown, this locomotive was issued to the Wangaratta to Whitfield line and saw service on all four lines with most of its service on the Upper Fern Tree Gully to Gembrook line. It was temporarily withdrawn from service in 1958 and returned to service at Belgrave in 1962 for the reopening of this line where it has seen almost continuous service since. 1979 saw the early two-tone green colour scheme applied to this loco as a trial even though it never historically carried it, but its physical configuration was not altered accordingly. It is now painted its original livery of Canadian Pacific red & dark brown and will eventually be returned, as far a possible, to its original condition with a low bunker, narrow ash-chute, etc.Historic - Victorian Railways Locomotive Number Plate used on Steam Locomotive 7ANumber Plate 7A Fabricated steel number board made by the Victorian Railways for locomotive 7A7apuffing billy, 7a, number plate, victorian railways