Black and white photograph, four young females in costume dancing on stage, in a park. Large crowd under trees watching. Inscription: In image on board on stage 'Nuggets, presented by Dr Backhaus by Bendigo Diggers'. History of object - previous Acc. No. '185'. James Lerk 'Centenary of Gold?'. In image 'Dr Bacchaus's chair, stump from which? Dr Backhaus preached. First ordained preacher or minister on Bendigo Goldfields. On back 'MP 185'. Purple circular stamp 'Royal Historical Society of Victoria, Bendigo Branch', '1960', '97', 'CD 279'. 'Copyright, Bendigo Advertiser, 'Bendigo Advertiser Photographic Service. For re-order quote CD 279'Bendigo Advertiserperson, group, centenary, see also 2000.511.01, 2000.512.01, 2000.513.01, 2000.514.01, 2000.515.01, 2000.517.01, 2000.518.01, 2000.518.01, 2000.519.01, 2000.520.01, 2000.521.01, 2000.522.01, 2000.524.01.

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series showcases photographs taken in the 1930s and 1940s and shows people who lived and worked on the Island during the Jenkins period. This photograph was taken in January 1940 and shows the owner of the island and his son, Harry and Ted Jenkins, along with Geoff Trythall and Gordon Grant.Sepia photograph white narrow white border of group of four people gathered around the vegetable garden, sitting on the ground or on stumps among the fruit trees Digitised from a high resolution copy (original Polaroid is in poor and fragile condition)nilchurchill island, photograph, arthur evans, harry jenkins, ted jenkins, geoff trythall, gordon grant

Index, bibliography, notes, ill (maps), p.565.non-fictionPasschendaele epitomises everything that was most terrible about the Western Front. The photographs never sleep of this four-month battle, fought from July to November 1917, the worst year of the war- blackened tree stumps rising out of a field of mud, corpses of men and horses drowned in shell holes, terrified soldiers huddled in trenches awaiting the whistle. The intervening century, the most violent in human history, has not disarmed these pictures of their power to shock. At the very least they ask us, on the 100th anniversary of the battle, to see and to try to understand what happened here. Yes, we commemorate the event. Yes, we adorn our breasts with poppies. But have we seen? Have we understood? Have we dared to reason why? What happened at Passchendaele was the expression of the 'wearing-down war', the war of pure attrition at its most spectacular and ferocious. Paul Ham's Passchendaele- Requiem for Doomed Youth shows how ordinary men on both sides endured this constant state of siege, with a very real awareness that they were being gradually, deliberately, wiped out. Yet the men never broke- they went over the top, when ordered, again and again and again. And if they fell dead or wounded, they were casualties in the 'normal wastage', as the commanders described them, of attritional war. Only the soldier's friends at the front knew him as a man, with thoughts and feelings. His family back home knew him as a son, husband or brother, before he had enlisted. By the end of 1917 he was a different creature- his experiences on the Western Front were simply beyond their powers of comprehension. The book tells the story of ordinary men in the grip of a political and military power struggle that determined their fate and has foreshadowed the destiny of the world for a century. Passchendaele lays down a powerful challenge to the idea of war as an inevitable expression of the human will, and examines the culpability of governments and military commanders in a catastrophe that destroyed the best part of a generation. Collapse summary world war 1914-1918 - campaigns - western front, france - campaigns - passchaendaele

Confirmed by Georgina Whitehead (producing book on Public Gardens.)2 copies black and white photograph. Row of large Elm trees lopped heavily or being lopped. Man seated on stump half way up tree. Long wooden laddersOn reverse of one copy, "Fitzroy Gardens early 1920's."elm trees, fitzroy gardens, georgina whitehead, ladders, tree lopper

Eltham Council (now the Shire of Nillumbik) commissioned this work in 1989 to create an entrance / gateway to Edendale Community Farm. It was also aided by a grant from the Ministry of the Arts (now Arts Victoria). The former name of this work was "Gateway to Edendale Farm". Edendale Farm is a demonstration farm modelling sustainable environmental practices, providing support to the local residents of Nillumbik. Established in 1986, the land was purchased in 1970. It was previously an English gentleman's residence and was used for grazing. It consists of 5.6 hectares, with the Diamond Creek meandering through the property. The Victorian Fences Act 1968 governs liability of occupiers of adjoining lands to fence, and deals with disputes between neighbours regarding boundaries fences and costs. This work took into consideration ideas and suggestions from residents and committees, who required the use of recycled materials and that the work celebrate man's relationship with nature, animals and the earth, as well as relate to the fence-line on the far side of the carpark. Trembath also absorbed significant aspects of local history, making references to Eltham's agricultural past, the clearing of the land, the destruction of trees, the ruthless pruning of trees by suburban Councils and incorporated such Australian features as the post and rail fence. 'The Fences Act 1968' is significant for aesthetic, historic and social reasons at a regional level. It makes prominent the historical and social significance of Edendale and the rural aspects of Nillumbik. The use of existing tree stumps and salt pots in the work explores the iconography of the countryside such as the isolated farmhouse, pioneering farming practices, post and rail fencing and the regrowth of lopped trees. The title of the work, as well as the extensive community involvement in its creation, also makes reference to the Victorian Fences Act 1968, which makes neighbours jointly responsible for the cost of construction and maintenance of fences in the partitioning of land for settlement. 'The Fences Act 1968' has been classified as of regional significance by the National Trust of Australia. The work is an installation of wood and metal, approximately twenty five meters long. The design is very informal and rustic and runs the full width of the fence-line. It comprises groups of recycled tree trunks fitted with metal caps (chrome-nickel 'salt pots' that are shaped like tall bowler / top hats). Metal rods protrude from the trunks and some of these rods have metal birds. Two larger, sentinel-like stumps at the two outer ends have metal flame-like wings, which bend inward. To the left of the entrance, a simple architectural element indicates an isolated farmhouse. The rustic fence runs between the groups of tree trunks with native planting in clumps along it. The fence-line incorporates a functional engineered double gate and post and rail fencing. There may be many interpretations of the work and the intention is to stimulate interest and imagination rather than alienate. Interpretation is based on the personal experience that a visitor brings. The artist recommended that no explanation of the design logic be positioned with the work. N/Apublic art, sculpture, edendale, recycled, wood, metal, fences act 1968, gate, trembath, salt pot, tree stumps

View of Jeeves Saddle in 1907 showing everyday life and including important people and businesses from early settlement - Dodd's grocery and meat cutting carts; Beulah tea Rooms/Post Office; Mrs Hand, Fred Jeeves, Theo Hand.This photograph has a detailed inscription on the back handwritten by John Lundy-Clarke in 1974.“Jeeves Saddle” in 1907. Isaac Jeeves special strip of land Crown Allotment “C” 7 chains wide, lay between the sledge load of pea stalks and the far end of the verandah on Mrs Hand’s “Beulah Tea Rooms” which soon afterwards became the Mt Dandenong North Post Office. The coach road came up from the right behind the tall stump. The big woman in black was Mrs Hand. The wagon at the shop was Dodd’s grocery cart. The nearer wagon was the first coach on the mountain which had belonged to Briarty. The small cart was Dodd’s meat cutting cart. The elm trees are in the centre of the picture and above them is Price’s sign advertising their shop and newsagency. The big house is “Mountjoy” burnt 1975. Walker’s house is among the big trees left centre. Boy at horse’s head is Fred Jeeves. Boy on sledge is Theo Hand. The horse is “Blossom”. Barbers Road goes to the left from behind the elm trees.jeeves, theo hand, fred jeeves, isaac jeeves, barbers road, beulah tea rooms, post office, mount dandenong north, mt dandenong north, kalorama, coach, mountjoy

View of Kalorama gap taken in 1907 showing Eliza Hand outside Beulah Tea Rooms, Briartys Coach, Dodd's Grocery cart and Meat Cutting cart. In foreground Fred Jeeves is standing and Theo Hand on hay. Mountjoy is in the background.This photograph has a detailed inscription on the back handwritten by John Lundy-Clarke in 1974.The Kalorama Gap in 1907. The coach road comes from right behind old stump. The shop was Hand's Beulah Tea Rooms soon to become the Mt Dandenong North Post Office. Big woman in black was Mrs Hand. wagon was Dodd's Grocery cart. "Mountjoy" on hilltop. The wagon with man was the first coach on the mount (Briartys). Small cart was Dodd's meat cutting cart. Horse at sledge was "Blossom" boy at her head was Fred Jeeves. Boy on sledge was Theo hand. Elm trees in centre of picture with Prices sign advertising shop and newsagency above them.mountjoy, beulah tea rooms, fred jeeves, theo hand, dodd's grocery cart, cart, coach, briartys

Colour Negative No. N410, of the Bendigo No 11 turning from McCrae St into Nolan St, with in the background. Tram has the destination of Lake Weeroona. Photo taken possibly on Sept or Oct 1962, given the tree pruning in the background - pruned back stumps. Colour laser printed copy of image stored in box 73. Original negative hires scan and image updated 28/5/2020.In red pen on folder that contained negative, "NR65A" and "23 Feb 1962" and inside "26 Sep 1962" and "6 Oct 1962". and "55A" in pencil. trams, tramways, bendigo, nolan st, lake weeroona, tram 11

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.: STATE SCHOOL, FERNSHAWE. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 5. / STATE SCHOOL, FERNSHAWE. / This educational institution occupies one of the most romantic situations of any of the State Schools in Victoria. / On either side of it runs a river and a creek, whilst immediately surrounding it are a great many large fern trees. / The background comprises many giants of the forest. In the centre of the picture stands a stump, about 60 feet / high, which has evidently been struck by lightning. The neighbourhood, not being a very populous one, furnishes / but 30 children for educational training. 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

Black and white photographs. Students engaged in various activities. (1) and (2) Group of students at the beach, probably Wilson's Promontory. (3) Student examining nodules on a medick (Medicago lupulina). (4) Student chopping out the stump of a eucalypt. (5) and (6) Student standing among vegetable crops in the Orchard. (1) On reverse, "Gil Schlapp." (2) On reverse, "Richard Rowe '72." (3) On reverse, "Geoff Kenna Examining nodules on a Medic Tuesday 11th July '72." (4) On reverse, "Alan Bedggood Chopping out stump of gum tree Tuesday 11th July '72." (5) (6) On reverse, "Pam Bull." . All stamped 1.5.72 or 2.8.72.students, activities, beach, gil schlapp, richard rowe, geoff kenna, pam bull, alan bedggood, students working outside, orchard, vegetable crops, wilson's promontory, medick, medicago lupulina

Photographs of various sizes pasted on cardboard for display purposes. Some annotated. (1) (2) Difference between leaf and fruit buds. (3) "The 'rod' or whip is most suitable plant to commence training." (4) Planted and pruned fruit tree. "School of Horticulture and Primary Agriculture Burnley B. 1 " stamped on reverse. (5) "Pear Tree-Unpruned (1) June." (6) "Same Pear Tree-Pruned (2) June." (7) Young unpruned "William bon Chretien". Reverse, Burnley Stamp. (8) Same tree pruned. Reverse, Burnley Stamp. (9) Unpruned pear tree. (10) "Narrabben" plum before inserting branch spreaders. (11) With branch spreaders. (12) Close up of some of its branches without spreaders. (13) Close up of branch with seaders. (14) Plum tree with spreaders. (16) Close up of fruiting spurs. (17) "Apple Blossom Oct. Reverse, p 163(Oct." )(18) Same photograph enlarged. (20) Close up of fruiting buds. (21) Old unpruned apricot tree. (22) "Unpruned branch of apricot tree." (23) Close up of apricot branch. (24) "Same branch-apricot-pruned June Reverse, p99 (June)."(25) Pruned branch stump of mature fruit tree.(26) "Clean saw cuts with sharp knife." (27) "Treat all large wounds on trees to avoid infection by wood rotting fungus." (28) "Apply coating of lead paint or grafting mastic." (29) "Branch of lemon-unpruned Aug. Reverse, p157 (Sept.)." (30) "Same branch of lemon-pruned Aug. Reverse, p 157 Aug."(31) "Young climbing rose-ready for planting-July." (32, 33) Grape vine before pruning. (34) Same vine pruned and trained. (35) Older vine pruned.fruit bud, rod, whip, school of horticulture and primary agriculture, burnley, pear tree, spreaders, plum tree, apricot tree, fungus, lead paint, lemon, roses, grape vine, leaf bud, training, fruiting spurs, apple blossom, grafting mastic

ROSE SERIES P. CROSSROADS, WONGA PARK, VIC.

Set of 23 photographs taken by Carolyn Dean between 6/3/1999 and 16/4/1999 of the Begonia Festival operations and moving the ex SEC bike shed to Bungaree. On Kodak paper. 1094.1 - Group of tramway staff at Gardens Loop - used in May 1999 Fares Please! .2 - tram 40 at loop .3 - sign boards used in 1999 Begonia festival .4 - Welding joint 2-3 road - Warren Doubleday and Gary Wood .5 - ditto with Alastair Reither .6 - Fixing fence at Bungaree - John Phillips .7 - ditto .8 - ditto .9 - site for the hut to go at Bungaree .10 - ditto .11 - treated pine posts for stumps .12 - checking the layout - John Phillips .13 - cutting fire wood .14 - trimming trees .15 - Dismantling the roof on the shed at Ballarat East - John Phillips and Simon Jenkins .16 - roof off .17 - ditto .18 - the moving team - used in May 1999 Fares Please - see caption for people .19 - Lifting the shed out of position .20 - ditto .21 - ditto .22 - surveying the foundations - Peter Winspur, John Phillips and Alastair Reither .23 - ditto .1 > .3 - 6/3/1999: .4 & .5 - 7/3/1999: .6 > .13 - 20/3/1999: .14 - 21/3/1999: .15> .23 - 16/4/1999 See also Reg. No. 1095 and 1101 for next stage of the move. On rear of each photo in blue ink is date in the upper edge and on lower edge "Photo by Carolyn Dean"btm, sec bike shed, begonia festival, track repairs, tram 40