BLACK AND WHITE PHOTOGRAPH PART OF CROWD SCENElocal history, photography, photographs, events and celebrations

Rural City of Wangaratta Collection, Wangaratta Art Prize 1982.A watercolour landscape painting of a pastoral scene in shades of brown, green, and blue.Obverse: NEVILLE CONNOR/ (bottom left corner)wangaratta art gallery, neville connor, landscape, watercolour painting, gapsted, pastoral

naïve art, outsider artRural City of Wangaratta Collection, Wangaratta Art Prize 1980.A landscape of a valley scene featuring animals and humans painted in oil using vibrant colours.wangaratta art gallery, tony convey, naïve art, landscape, painting, outsider art

Born in Estonia and immigrated to Australia after WW2, Gunnar Neeme is widely known around the world for his artistic abilities winning many awards in Australia, Germany, and Estonia, he is also a well-known writer. Neeme was a prominent figure in the Estonian society of Australia.Rural City of Wangaratta Collection. Gift of Verner Kentmann, Chief Clerk 1951-69.An illustration of a pastoral harvest scene in Estonia painted in watercolour and then overlaid with a black marking pen.Obverse: GNEEME/ 1965/ (bottom left corner) Gunter Neeme/ "RAY STOOKS IN ESTONIA'/ PRESENTED BY/ V. KENTMANN/ CHIEF CLERK 1951-69/ (plaque mounted on frame)wangaratta art gallery, gunner neeme, estonia, illustration, landscape, pastoral, haystacks

Rural City of Wangaratta Collection, Wangaratta Art Show 2004.A landscape scene of an elderly couple walking through a park in Autumn painted in a post-impressionist style.Obverse: DO NOBLE/ (bottom right corner) 2004 Art Show/ - Grand Winner - / 'Autumn Lovers' - By Do Noble/ Judge Ramon Horsfield/ (plaque on mounting board)wangaratta art gallery, do noble, painting, autumn, landscape

Rural City of Wangaratta Collection. Wangaratta Art Show Grand Winner 1985.A landscape of a pastoral scene, painted in oil using shades o green, brown, blue, and yellow.R Paterson '85/ (bottom right corner) - GRAND WINNER 1985 -/ WANGARATTA ART SHOW/ (plaque mounted on frame)wangaratta art gallery, ross paterson, landscape, painting pastoral

Rural City of Wangaratta Collection, Wangaratta Art Prize 1987.A landscape of a lake scene, painted using oils in a colour palette of green, blue, pink, brown, and grey.Obverse: Wykeham Perry 87/ (bottom left corner) WANGARATTA ART SHOW/ GRAND WINNER 1987/ (plaque mounted on frame)wangaratta art gallery, wykeham perry, landscape, painting, coastal

Rural City of Wangaratta Collection. Gift of the artist 1992.A landscape scene of a river winding through gums painted with oils using a colour palette of green, brown, grey, blue, orange, and purple.Obverse: A. Quabba 1992/ (bottom right corner)wangaratta art gallery, angelo quabba, landscape, painting

Rural City of Wangaratta CollectionA quilted textile that depicts Australian scenes alongside silhouettes of Ancient Greek Olympians. wangaratta art gallery, beth roberts, textile, olympics

‘Sky Series’ Changes are constantly taking place in the sky . I love the variety, colour and movement of the sky which are all a direct result of the clouds, sun and time of day. I certainly think about the sky much more when we are on Safari. The sky is a great indicator of the ever changing time of day and weather conditions …... fine and clear, cloudy, sunset, sunrise and storms. The artwork features a simple ‘mesa’ shape against the sky. A mesa is a flat topped hill. Which are part of the Australian Inland. The mesa I have featured is in recognition of Mt Connor in the Northern Territory.Wangaratta Art Gallery CollectionA embroidered textile depiction of an outback landscape scene at sunrise featuring a colout palette of soft pastel blues and pinks, and vibrant reds and oranges.june brown, landscape, textile

Stormy skies can be memorable with dark and contrasting colours. They often appear menacing and producing apprehension in the air because of the oncoming weather. Fabrics used in this piece are all commercial. I have endeavoured to make the sky angry with stitches. The mesa has some very dark and ominous craggy rifts. ‘Sky Series’ Changes are constantly taking place in the sky . I love the variety, colour and movement of the sky which are all a direct result of the clouds, sun and time of day. I certainly think about the sky much more when we are on Safari. The sky is a great indicator of the ever changing time of day and weather conditions …... fine and clear, cloudy, sunset, sunrise and storms. The artwork features a simple ‘mesa’ shape against the sky. A mesa is a flat topped hill. Which are part of the Australian Inland. The mesa I have featured is in recognition of Mt Connor in the Northern Territory.Wangaratta Art Gallery CollectionA embroidered textile depiction of an outback landscape scene during a storm featuring a colour palette of blues and browns.june brown, textile

When in the desert it is frightening to see a distant fire, even though you may not see the actual flames. As evening approaches the sky reflects anger and colour. The mesa is also reflecting some of the glow . I imagined it had been burnt already and some embers are still aglow in the evening light All fabrics used in this work are cotton commercial fabrics. My stitching has been done to accentuate the red reflection in the sky. Black rayon thread gives a certain sheen to the mesa with a dried grassy foreground. ‘Sky Series’ Changes are constantly taking place in the sky . I love the variety, colour and movement of the sky which are all a direct result of the clouds, sun and time of day. I certainly think about the sky much more when we are on Safari. The sky is a great indicator of the ever changing time of day and weather conditions …... fine and clear, cloudy, sunset, sunrise and storms. The artwork features a simple ‘mesa’ shape against the sky. A mesa is a flat topped hill. Which are part of the Australian Inland. The mesa I have featured is in recognition of Mt Connor in the Northern Territory.Wangaratta Art Gallery CollectionA embroidered textile depiction of an outback landscape scene during a fire featuring a colour palette of pinks, purples, and browns.june brown, textile, landscape

In 2019 Peoples undertook a residency at the Tuggeranong Arts Centre, Canberra. The original proposal was to explore the suburban gardens. However, it was the man-made lake with a different bloom, blue-green algae that held her attention. The still waters of the lake in the early mornings are tranquil. Becoming more familiar with the Lake, details caught Peoples’ eye. However, she realised the only interaction by humans with the Lake were two men who motored a small boat to the centre of the Lake, a hint as to the connection between tranquility and blue/green algae.Wangaratta Art Gallery Collection. Donated by June Brown.A small embroidery using a colour palette of green, orange, blue and brown depicting a scene of Lake Tuggeranong mounted into a purple spectacle case.sharon peoples, textile, embroidery, lake tuggeranong, landscape

In 2019 Peoples undertook a residency at the Tuggeranong Arts Centre, Canberra. The original proposal was to explore the suburban gardens. However, it was the man-made lake with a different bloom, blue-green algae that held her attention. The still waters of the lake in the early mornings are tranquil. Becoming more familiar with the Lake, details caught Peoples’ eye. However, she realised the only interaction by humans with the Lake were two men who motored a small boat to the centre of the Lake, a hint as to the connection between tranquility and blue/green algae.Wangaratta Art Gallery Collection. Donated by June Brown.A small embroidery using a colour palette of green, red, blue and brown depicting a scene of Lake Tuggeranong mounted into a brown spectacle case.sharon peoples, embroidery, textile, lake tuggeranong

Images were taken by a staff member of the Returned Sailors and Soldiers Mill in Newtown, a MR. Norm Holroyd. The photos were taken between the 1960s-1970s. They were developed in his own private dark room and kept at his home for private viewing. Upon his death, the album went to his daughter, Judie Holroyd, who has donated them to the National Wool Museum.A collection of 38 black and white images, each individually mounted on cardboard backing, showing scenes of various stages of fabric production at the Returned Sailors and Soldiers Mill in Newtown. Each individual image page has 4 holes on the left side so it can be stored in a folder. Folder is not included in the donation.Numberswoolen mill wool production loom

Copy of Godfrey Hirst family videos/photograph on CD. Including 1951 floods at Mill. All video content filmed at Godfrey Hirst Woollen Mill, Swanston Street, South Geelong. Godfrey Hirst's children. Family home in Newtown and holiday home in Eastern View.Compact disc (CD) containing colour video footage. Film has no audio content. Visual content outlined below: 00:00 – 00:05 – External view of brick building – Godfrey Hirst & Co. Pty. Ltd. 00:05 – 00:10 – Exterior garden setting, three men in suits with fabrics and object 00:10 – 00:28 – Exterior garden setting showing eight women, most likely on a break from working at the Godfrey Hirst factory. The footage shows them all getting up and walking back towards the building at the end. 00:28 – 00:38 – Exterior garden setting, showing seven men in white shirts and ties seated and standing around a table, turning pages on a folder on the table. 00:38 – 00:52 – Interior factory setting, showing four men in coats handling green and red wool. 00:52 – 1:08 – Three men in suits in an exterior garden setting looking at paperwork. 1:08 – 1:23 – Four men in coats in a garden handling coloured wool samples. 1:23 – 1:42 – Four men in suits in a garden setting handling woven fabric. Two of the men are holding pipes. 1:42 – 1:57 – Interior factory setting showing men operating machinery. 1:57 – 2:05 – Exterior factory setting showing a man driving machinery carting wool bales. 2:05 – 3:14 - Flood scenes, showing the exterior of the Godfrey Hirst building with a man rowing a boat down the street, and a horse and cart in flood waters. There are scenes of flooded streets, exterior of flooded buildings and people standing in flood waters. 3:14 – 3:40 - Interior building views of flood waters in factory with people, machinery, equipment and textiles in flood waters. 3:40 – 4:03 - Exterior views showing a tractor, boat, horse and people in flood waters. 4:03 – 7:02 Exterior setting showing crowds of people watching a fashion parade. The fashion parade is of women in various clothing, including suits jackets, skirts, coats and hats. 7.02 - END"Hirst family films 1936-1964 Incl. Godfrey Hirst and co P/L Woollen mills"geelong, godfrey hirst & co. pty. ltd., family films, factory, flooding, 1950s, wool processing, fashion, textiles, horse and cart, wool bales, transport, machinery, fashion parade, working life

Hand-stitched tapestry by M. Baker in 2001. Tapestry represents part of the family history of working in the wool industry as owners of a sheep property for five generations. The family has run Corriedale sheep in Lismore, Victoria.Brown timber framed woollen tapestry with cream mounting board. Tapestry is handstitched and features various colours. Scene depicts four men and a woman in a shearing shed. Two of the men are handling sheep, one man is weighing a fleece while the last man and woman look on. Back of frame has a horizontal hanging wire, a framers stamp at the bottom centre and a handwritten creators name and date at the top right corner.lismore, sheep breeding, tapestry

Each illustration is of a scene inside the Dennys Lascelles Building in the early days of its use as the National Wool Museum. The artists were members of the CEP Project.CEP P3oject/ Drawings and watercolours/ of/ Dennys Lascelleswool stores

Congregational Church Scallan Street Stawell. This photograph shows the Manse beside the church and was taken in the 1930's. The manse has an established garden around the building which looks in good condition. The picket fence is the same as in the post card photograph 106 of the Congregational Church built in 1874. Black & white photograph of a scene depicting a brick Church with a manse beside the Church and a picket fence. The manse has a verandah out the front with a corrugated iron roof. Congregational Church Stawellstawell

Bullock Team with load of Wattle Bark in front of Cornish's Victorian Boarding House. Corner of Napier& Victoria Streets. Photograph taken in Napier Street, Stawell c1910. Inscriptions on the back of the photo state W. Dunn is standing beside the bullock team but records imply that its Jack Williams with his bullock team. Stan Wathem is holding the bike and standing beside the wagon. Wattle bark was used at Wenl's Bark Mills Stawell. The photograph belongs to Mrs. Dorrie Pickering - loaned for copying. The boarding house on corner of Victoria & Napier St. Obit. Mrs. Fanny Cornish formerly Manuel nee Bass, Stawell News 20.6.1931. Black & white photograph of a scene depicting a bullock team and wagon loaded with Wattle bark. Stawell. Two men standing near the bullock team, one holding a a long stick, the other on a bike. The building behind the bullock team is Cornish's Victoria's Boarding House. Also a large double story barn at the back of the wagon, c1910. In the file are two other black and white photographs of the same image.c1910. Napier St. Corner of Napier & Victoria Streets Stan Wathem (Bike) W. Dunn with team loaded with Wattle bark. Jack Williams? There is a stamp on the photograph board, but hard to read "A. __Ewin Photographer Tals__melb" stawell

Brick Anglican Vicarage in Main Street purchased 1923 surrounded by trees and with picket fence and gate. In 1923 the house on the west side of the Church was purchased to be the Vicarage, the former Vicarage in Stawell West being sold. In this same year electricity was connected to the Church, the Hall and the Vicarage. The organ which had been hand pumped till then was fitted with and electric blower. This photo is a copy off a loaned postcard. The dwelling was purchased by the Anglican Church 1923, the former vicarage in Seaby Street being sold. The Spire in the background is St. Matthews Presbyterian Church. The vicarage is now demolished and replaced by a new building.Black & White photograph of a scene depicting a brick dwelling with veranda right hand side and a church spire in the background. Trees surrounding the building. A picket fence with gate and footpath in foreground.stawell religion church

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

“Spiral bound A4 size 12 pages and front and back cover. Cream embossed heavy paper with sepia print. Contains one page for each month. Depicts early scenes of Yarrawonga Streets, river, hotels, stores, Showgrounds - all with descriptions See photos

Scene from Big Hill. Shows Stawell looking to West c 1878 Patrick Streets and Sloane Street intersection. Back of Royal Exchange Hotel Kays Foundry in Wimmera Street. Coffee Palace formerly Castlemaine Hotel at right of photo. Mining poppet heads in foreground Three Whims in the foreground are North Scotchmans No 6 & 7 and South Cross in CentreSepia toned print & also a Black & White print (these photos are similar to 29.9). Photos show Western view of mining activity in Stawell c 1878. Kays Foundry on upper left and Upper Main Street on very right of photo.Stawell 1878 in Victoria.stawell, mining, panorama, streatscape

Murray Views No. 13. Panorama over Stawell, looking South West. Spotlight on Pioneer's Memorial (29,5). Black Range in background, grassland on Big Hill at front of Photo. St Patrick's Church visible, Kinsella House. The larger photo 29.5a is a slightly closer view of same scene and shows the "new" school (corner Patrick & Holt Street) opened in 1934.Two similar views of Stawell. One Murray views looing south west (29.5) and the other a larger photo showing school building beside church (29.5a).Murray Views No.13. Panorama from Pioneer's Memorial, showing Black Range, Stawell, Vic. (on 29.5)stawell, panorama

Scene from Big Hill. Market Building in Skene Street at left of Stawell Court House. Businesses at corner of Sloane and Patrick Streets visible. Agnew Drapers store and buildings in upper Main Street visible Shows Mining activity in foreground 1878. Whim in foreground is No7 North Scotchmans and Whim next to that No8 North ScotchmansBlack & White Photograph from Big Hill. Market building left of Court house . Photo shows mining activity in the foreground, Stawell in the background c 1878. refer. Original c 1880 folder (room 2) from Don Rickard & Geoff Oates.stawell, panorama, streetscape, mining

Post Card Valentines c 1950. Main Street Stawell looking West. The view show cars parked at an angle down Main St. and shops mainly along one side. The town hall clock can be seen above the building with the Coles sign, Macrows and Geo on the right hand edge.Valentine's Post card of Main St., Stawell looking West. The scene is of many 1950 cars parked along the street with Coles Variety Store, Macrows and Geo stores dominating to the right of the photo."VII" "Main Street, Stawell" (on the front) "Valentine's Post Card sending you greetings" (on the back)stawell business streetscape

Scotchmans United Quartz Mining Company Shaft was 1,018 feet deep.Stawell Mining Scene from Big Hill. Close up view of the winding engine shed Poppet Head and Building Scotchman's United Mine. Rear poppet head Crown Cross. Upper Main Street visible left Back of Photo. Stawell 176 Miles from Melbournemining, panorama