The Forests Commission had a large and active engineering branch which was often called upon for major demolition or quarry work. Most overseers, as well as some foresters, were trained in the use of explosives to “blow stuff up” such as removing stumps and rocks from roads. Districts usually had a small powder magazine tucked away in the bush for storage of gelignite and detonators.Sample board showing examples of explosives and detonatorsroad construction and maintenance.

THE CANNON WAS ORIGINALLY SITUATED IN VICTORIA PARK - LATER IN SHED AT TOWN HALL AND NOW KEPT IN HENRY BLAND ROOM AT CLUNES HISTORICAL MUSEUM IN FRASER STREET, CURRENTLY (2019) DISPLAYED AT SEAWORKS MUSEUM, WILLIAMSTOWN, VICTORIA, AUSTRALIAPHOTOGRAPH OF CLUNES CANNON ON WOODEN STAND - ABOUT 1938.CLUNES CANNON ON 'ROCKS'local history, photography, photographs, military

Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015

Elsie Moulden Long time resident of StawellColoured postcard of Sister Rocks Stawell St9 Nucolorvue Pty. Ltd. Copyright Stawell Victoria A Nu-Color-Vue Place Stamp Here Post Card Looking Nth Printed in Australia

Original painting found in a house at the corner of Bell Sreet and Park Lane, Torquay showing the J H Scammell on the rocks at Point Danger,Torquay in 1891. A contemporary record of one of many shipwrecks on the south coast of Victoria.Sepia photographscammell, shipwrecks great ocean road victoria

Photograph shows the still intact Joseph H Scammell stranded on the rocks off Point Danger Torquay in 1891.The J H Scammell was one of many ships wrecked on the south coast of Victoria.Black and white photograph

Photograph shows four adults and two children sitting on the rocks at the beach at Torquay.A nostalgic beach sceneBlack and white photographtorquay victoria

Colour photograph of rocks on the beach at Apollo Bay at a rocky outcrop known as Match Point.apollo bay, match point, beach, coast, rocks

Colour photograph of rocks on the beach at Apollo Bay at a rocky outcrop known as Match Point.apollo bay, match point, beach, coast, rocks

Rose Series post card # P. 90. Sassafras Creek near The Crescent Bridge. View of water and ferns. Post 1920.Rose Series sepia coloured post card showing a small creek running through the centre of the photo edged by rocks and tree ferns.On front: The Rose Series, P. 90. SASSAFRAS CREEK NEAR CRESCENT BRIDGE. VICTORIA.sassafras creek, crescent bridge, creek, bridge, tree ferns, rose series, post card

Canoeing on the River Yarra at Melbourne was an important and widespread recreational pursuit for Melbournians, especially in the first half of the twentieth century. The Victorian Canoe Club was formed in 1912 at a meeting in Melbourne and its first committee elected in the same year. Records indicate that the Club continued into at least the 1950s .The photos in this album are historically and socially significant as a record of recreational activities in the first half of the twentieth century. A number of photographs in the album provide views of sections of the Yarra, as well as areas in regional Victoria, that may otherwise be unavailable.One of 12 sepia [faded] photographs of members of the Victorian Canoe Club. This photo shows members of the club relaxing on the rocks near the Pound Bend Tunnel at Warrandyte."Pound Bend Tunnel"victorian canoe club, travel -- 1930s, canoeing, warrandyte, yarra river

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.23 / ‘Waterfall scene on the Coliban River, near Elphinstone’ / Albumen silver photograph mounted on boardOn reverse: ‘The scene this illustration presents is but one of the many that exist along the course of this shallow River, which, like its parent the Campaspe, abounds with rocky and romantic scenery. The fall of the River at this place is over one hundred feet, but is broken by a long course of rocks to the lower bed; the actual fall as seen is about forty feet. The Coliban, though only a branch of the Campaspe, derives its name from the fact that its course runs through the Coliban Park. Gold is found in considerable quantities along the banks and in the stream, but at the present time these diggings are worked only by Chinamen.’nicholas caire (1837-1918), australia - landscape photography

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The fountain is located on the southern side of the ornamental lake and was erected to celebrate the jubilee of the municipality (17 March 1906). Controversy surrounded the commission for the design and construction of the fountain, as it was originally assigned to a contractor in Carlton. Williamstown residents insisted the fountain be designed and constructed locally, and on December 1906 the fountain was tendered by local firm Bliss and Sons and opened for public use in 1906. The fountain features a symmetrical plan, consisting of fur granite columns supporting a granite canopy and is fully operational following restoration work in 2013. The idea for the fountain came from an elderly resident of Williamstown who suggested the council follow the example of Ballarat’s gardens with its many statues and monuments. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. The significance of the fountain is its reflection of how Williamstown people felt for their Gardens and the importance placed on investing in locally operated business. It was noted in the Brief Jottings column of the Williamstown Chronicle, February 24 1906, the fountain is a “We favor the erection of the jubilee fountain in the Giffard-street (Williamstown Botanic) Gardens. Ornaments of that kind there will make that beauty spot even more attractive.” Sepia scene of a fountain situated on paths bordered with rocks. The fountain in on a plinth and the postcard shows the plaque and two of the four drinking stations. The fountain features a symmetrical plan, consisting of four granite columns supporting a granite canopy. Front: VALENTINE’S, M.355 THE FOUNTAIN, WILLIAMSTOWN GARDENS MELBOURNE, VICTORIA. REAL PHOTO. Reverse: vertical on left side of card and underlined: ‘Published by the Valentine & Sons Publishing Co. Ltd. / Queen St, Melb’. Top centre of card: Contains logo of ‘VALENTINES / REAL PHOTO SERIES’. The postcard is addressed to ‘Dear Agnes’ from ‘Una’. Marked in pencil on to right hand corner ‘1920 / $8’ believed to be put on the postcard by the vendor. postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, jubilee-fountain, fountain drinking-fountain, 1920, granite, bliss-and-sons, 1906

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. This postcard is evidence of the location of one of the cannons relocated from Fort Gellibrand in 1906. They were removed from the Gardens in the 1960s. These same cannons remain a feature on the Williamstown waterfront in 2013. A sepia postcard depicting a winding path lined with rocks. There is a cannon on the right hand side of the card beneath a spreading palm tree. There is a tall pine and a cypress tree in the background. The cannons were relocated from Fort Gellibrand to the Gardens in 1906. Front: ‘THE ROSE SERIES, P. 1030 THE GARDENS, WILLIMASTOWN, VICTOORIA / copyright’. Reverse: Left side vertical ‘Published by the Rose Stereograph Co. / Armadale, Victoria’. Across the top of the card: ‘POST CARD / The “Rose” Series A Real Photograph / De Luxe Produced in Australia’. There is an image of a rose and stem with three leaves in the centre of the card. In pencil on top right hand corner: $5 [believed to be inserted by the vendor of the card]postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, garden-path, cannon, rose stereograph, rose-series, 1906

This cricket ball is made of cane wicker and was used in cricket games with visually impaired players by people who lived or were educated at the Royal Victorian Institute for the Blind from the 1920's through till 1972. It is a circular shape made of plaited strips of woven natural cane and is lighter than a conventional cricket ball. The hollow center of the ball contains pieces of twisted metal pieces which rattle as the ball is moved to aid players in tracking the ball's movement. The stumps also had bells attached so fielders knew when the batsman was out. Blind cricket was invented in Melbourne in 1922 when two blind factory workers started playing a game using a tin can containing rocks. The game soon gained popularity and the Victorian Blind Cricketers' Association was formed. Mr William Paterson, a volunteer worker and advocate for blind people for over 60 years, was instrumental in acquiring and developing the sports ground and clubhouse in Glenferrie Road Kooyong, Victoria on behalf of the Association for the Advancement of the Blind (now called Vision Australia). In 1928 play began on the world's first sports ground for blind cricketers, in the first official blind cricket match. Blind cricket is now played internationally. This particular cricket ball was awarded to William Paterson Esq in 1928 in recognition of his support in establishing the world's first blind cricket ground in Kooyong. On the front of this ball is attached a small metal crest with an inscription: 'Presented to W.H. Paterson, Esq as a token of esteem for his interest in Blind cricket being the first ball bowled on the cricket ground for Blind Kooyong 7. 4.28'.1 wicker cricket ball with metal shield attached and metal bells in the hollow centre'Presented to W.H. Paterson, Esq / as a token of esteem for his/ interest in Blind cricket/ being the first ball bowled /on the cricket /ground for Blind /Kooyong / 7. 4.28'. recreation equipment, awards

Unsubstantiated photograph of the Asylum for the Blind in 1875. The four storey bluestone building rises above a group of trees planted in the garden. A picket and wire/string fence border the unpaved circular driveway. 2 black and white images of the Guiding Light at Elanora Blind Asylum School, St Kilda Road Victoria c. 1875 Charles Nettleton 1826-1902 Spencer Scott Sandilands 546 High Street, East Preson, 3181 Melbourne, Victoria, Australia, Tel: (03) 529 8011 Fax: (03) 521 1754 33 George Street, The Rocks, 2000 Sydney, New South Wales, Australia, Tel: (02) 241 4251 Fax: (02) 2414535 Rare Prints, Antiquarian Books, Old Maps, Australiana, Antiques, Photographs, Framing c.1875 Charles Nettleton School from the Blind Original Photograph $65 Guaranteed over 100 years oldroyal victorian institute for the blind, buildings

Black and white photograph of craggy outcrops with turbulent seas washing into a bayThe Rose Series p. 1133 the Crags near Port Fairy Victoriabeach, sea, seascape, rocks

Black and white photograph of a rocky outcrop with two large holes through, sandy dune and sea in backgroundThe Rose Series p. 1132 The Crags near Port Fairy Victoriabeach, sea, seascape, rocks

The jug and cup were purchased from a second - hand shop in Bairnsdale. Jug is older than cup as the chalet is represented as a single storey structure. The cup is later as the second storey appears in the illustration. 'Souvenirs in relation to the Chalet and Mount Buffalo wee first mention in December 1912... A large range of souvenirs has since been associated with the Chalet and Mount Buffalo from crafted wooden items, silver spoons, cups etc... The collection includes a broad selection of products that have been sold throughout much of the Chalet's history, each representative of the transient fashions of their period.' (Pg. 114. Historica) 'A group of tableware items is notable for its black transfer printed decoration, which features the Chalet building. Interestingly, the printed designs represent the Chalet at two different stages in its building history under the Victorian Railways, in 1926 after completion of the north wing, and 1937-39, after the second storey is added to the front.. manufactured in England by A.B. Jones and sons, a Stoke on Trent pottery firm which operated under the trade name of Grafton China between 1900-1972.' (Pg. 114. Historica)Listed in Draft Inventory of Significant Collection Items . Appendix A.3. Souvenirs. (Pg 168. Historica)..1] Ceramic jug. Souvenir of Mt Buffalo. White ceramic squat milk jug with a black transfer illustration/drawing on front side. Picture is of the MtBuffalo Chalet from the front. Some worn gold glaze detail. It appears to be a single story building with a planted garden at the front with a fence. Trees to one side and people walking up steps. "THE CHALET, MT BUFFALO NATIONAL PARK, VICTORIA." is written under the illustration. Jug has a faint crack. .2] White ceramic cup with gold edging around top of cup. Black transfer drawing of the chalet with a second storey. Rocks and tree in foreground and "THE CHALET. MT BUFFALO." underneath transfer. .1] "THE CHALET, MT BUFFALO NATIONAL PARK, VICTORIA." is written under the illustration. On the base of the jug, with sun motif, "ENGLAND / GRAFTON CHINA /A / B J / & SONS / LOFTUS MORA / PTY. LTD" .2] "THE CHALET. MT BUFFALO." underneath transfer. Under cup, "A.B.J. / GRAFTON / CHINA / MADE IN / ENGLAND"

A brown hardcover book with the title 'Gibraltar and it's Sieges' in gold and black lettering with a black lined drawing of Gibraltar, rocks and the English flag below. The spine has the title, two crossed flags, the words - Montis Insignia Calpe and Nelson and Sons publisher printed in gold and black. There are lined illustrations and maps inside. There is a Contents page and list of Illustrations. At the back is a ten page list of books to read, including - The World at the Fireside, Stories of Travel, New and Favourite Tales and more, all published by Thomas Nelson. Pp.158. Attached by paperclips to the front right endpaper is a Yeoman's Numurkah, Victoria photograph of Linda Fairless whom the book was presented to as an award.non-fictionA rare antique non fiction book about Gibraltar and it's Sieges published in 1884. It includes a description of its natural features, British colony, Mediterranean scenes and history with black lined ilustrations. gibraltar history, gibraltar sieges

Stainless steel brackets off the wreck of the Gypsy Moth V, wrecked near the lighthouse on 19 December 1982. These brackets were used to hold wire stays to the mast or bowsprit. The comparatively recent relics have a reliable provenance to the yacht Gipsy Moth V, which ran ashore on rocks under the lighthouse on 18 December 1982. It was the yacht that carried Sir Francis Chichester (1901-1972) on his second world voyage in 1971. While sailing the 19m (63.5ft) vessel in the 1972 Transatlantic Race, Chichester became weakened by cancer and had to abandon the competition and died two months later. His son Giles sailed the yacht back to England. In December 1982 British skipper, Desmond Hampton chartered the yacht for the around the world, single handed race. He had been running second and was nearing the end of the second leg of the competition from Cape Town, South Africa to Sydney when the accident happened. After going to bed he set the yacht on self steering and it wedged itself into a crevice just below the lighthouse and broke up. Everything was salvaged except for the masts and the engine. Twenty five years later, in 2007, items salvaged from the wreck surfaced in regional Victoria in a display of the ‘Gipsy Moth V Collection’, which included wreckage as well as photographs. The information from the ‘Sail World’ website did not provide any further details about the exhibition or its organisers.Two similar stainless steel brackets; half tubes with diagonally protruding flat section with hole at end. End is rounded.

non-fictionA scientific analysis of the development of the sequence of geological events and processes which contributed to the building of southeastern Australia landforms as part of the Tasman Fold Belt System.geology victoria, landforms victoria, tasman fold belt

significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture painting of large rocks in Australian desertSigned: Adams (lower left)

Date made 10 April 1999Colour photograph of Esplanade and waterfront, it shows vessels moored at jetty, bluestone rocks edging path beside lake seats and picnic tables and newly planted trees on lawn verge of highway, jetty sign posted as Bank Jetty. Lakes Entrance Victoriajetties, waterfront, boats and boating

Black and white photograph showing entrance to Gippsland Lakes from ocean - Bass Strait. Photo shows rebuilt western pier with crane on end of pier, loose rocks. Launch - possibly Peels 'Blackbird' in the entrance. Lakes Entrance Victoria boats and boating, tourism, waterways, piers

Date made January 2009Colour photograph showing old tramline and remains of old wooden western pier reinforced with rocks and sand build up - western pier. Lakes Entrance Victoriapiers, tramline

Date made January 2009Colour photograph, closeup view showing old tramline and remains of old wooden western pier, reinforced with rocks, and partly covered with sand buildup, at Lakes Entrance, Victoria.piers, tramline

Date made January 2009Colour photograph showing western side of western pier. Rocks extend from end of pier along base of sand dunes, some vegetation on dunes. Signs and lights on piers. Lakes Entrance Victoria topography, beaches

Black and white photograph showing, Schnapper cottage on western side of entrance. Dark weatherboards, front partially screened in, picket fence along front, rocks along shoreline, thick vegetation on dunes, tall century plant at rear of house. Lakes Entrance Victoria waterfront, historic buildings