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

WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming

Colour photograph of an Atlantic Cedar (Cedrus atlantica glauca) on the intersection of South Street, Skipton Street and Lyons Street South, Ballarat.ballarat, skipton street, lyons street north, tree, atlantic cedar, south street

Ian Armstrong, Wedderburn landscape 1972, gouache on paper, 54 x 73.5 cm. Bayside City Council Art and Heritage Collectiongouache on paperwedderburn, landscape, ian armstrong, tree, vegetation, rural

One of the oldest homes in Surrey Hills. The photo was taken in 1924 when the property was purchased by Mr John Francis Evans, father of Mrs Lillian Austin. The Evans family came from Gembrook. John Evans was born in Wales; he and his wife Mary had 3 children, 2 daughters and one son. Mary Evans pre-deceased her husband, who died on 23 October 1924 at Hillsborough, 6A Thistle Street. The first owner of the property was Mrs Rachel Sweetnam (nee Lewis) who married Thomas Edward Sweetnam on 24 September 1884 at St John's Church, Camberwell. REF: THE ARGUS 4 Oct 1884 Thomas second eldest surviving son of Matthew Sweetnam married to Rachel (Ray) third eldest daughter of Captain T.D. Lewis, Culm Haven, Camberwell. Thomas was active in land sales and variously described as a land agent, real estate agent and auctioneer. The property - Hillsboro or Hillsborough - was originally a house on a farm of 10 acres owned by her. It became 6A Thistle Street. According to the Alan Holt property register Rachel Sweetnam owned the property prior to 1890 and a family tree on Ancestry.com has that it was owned by her in c1886. It is likely that at this stage the property was an investment rather than the Sweetnam's family residence. Other property owners or residents are: 1890 Selina Gaylor 1900 Stephen Pullen 1910 William Murray (draftsman) 1920 George C Hughes 1930 Arthur Leslie Austin (tram driver) 1980 Mrs Lillian Evelyn Austin Lillian Austin died on 19 August 1983 and the property was sold that year for $87,000. The house is still extant (January 2025). Note that we also have material / photos regarding George Hughes and family.Black and white photo of a timber home with brick chimneys and a (?) corrugated iron roof. There are sheds and outbuildings attached to the house. The garden looks untended. In the background a mature eucalypt tree can be seen.houses, hillsboro, timber houses, mrs lillian austin, hillsborough, selina gaylor, stephen pullen, william murray, george hughes, arthur austin, john francis evans, thistle street

This type of implement is used to gather food or if large enough, to carry a baby. The size of this item suggested it could have been used for either purpose. This is a women s implement.A bowl shaped dish, decorated with a witchety grub design.Witchety grub motive characteristic of the Central Desert tribes.coolamon dish, aboriginal wooden implements, central desert tribes.

Photograph of Stawell Shire Hall taken 1988. 1988 view of the Stawell Shire Hall. Photo taken from the other side of the road. The decoration on top of the building is missing. The tree on the right hand side is losing its leaves and 2 cars are parked on the right, behind the tree. Stawell Shire Hall 1988 Geoff Oates P.O. Box 402 Stawell.stawell

40th Anniversary badge in a shape of a Linden leaf. Linden tree is very symbolic for Slovenians. During the period of the Slovenian national awakening and the Slovenian people's increasing national awareness, the linden tree became one of the symbols of the Slovenian nation.SDM 40 let - SAM 40 yearsbadge, slovenian associoation melbourne, 40th anniversary

Also second copy which is a very clear photo.Sepia toned photograph of Pine Hill Guesthouse, showing rambling building on top of hill, landmark tree, and pine trees on hillside. Road in foreground is Princes Highway. In far distance a glimpse of Cunninghame Arm. Lakes Entrance VictoriaPine Hill Lakes Entranceguesthouses, roads and streets, topography

Camp 3. made by Gudrun and Isolde Frank, camp 3 c.Black and white sketches for calendar. 1943. 6 sketches. 1 - Cloudy sky, with hut and tree to the right and a truck front right; 2 - a guard tower on left hand side, 4 water tanks in Centre and a cloud to the right. front shows some rocks; 3 - Cloudy sky, 2 big trees (one on left and one on right), 3 bare trees in Centre. Across the front are 4 sheep and 4 four posts; 4 - 1 horse in foreground the 3 in back ground with trees in background; 5 - two children picking vegetables with a small hut to the right and a fence in front of 2 trees; 6 - 5 men working in a garden, 1 with wheelbarrow.the number 4 top right hand cornercamp 3, gudrun frank, isolde frank, frank zimmer, camp calendars, templers

Brendon Collier up at ladder against a tree trunk with a fire hose putting out a tree stump smoulderingcolor photoBrendon Collier 1985b.collier, 1985

Series of eleven photos taken in 1984 planting trees and 1993 showing some graves and also the growth of trees.stawell

Series of eleven photos taken in 1984 planting trees and 1993 showing some graves and also the growth of trees.stawell

Series of eleven photos taken in 1984 planting trees and 1993 showing some graves and also the growth of trees.stawell

Series of eleven photos taken in 1984 planting trees and 1993 showing some graves and also the growth of trees.stawell

Series of eleven photos taken in 1984 planting trees and 1993 showing some graves and also the growth of trees.stawell

Series of eleven photos taken in 1984 planting trees and 1993 showing some graves and also the growth of trees.stawell

Series of eleven photos taken in 1984 planting trees and 1993 showing some graves and also the growth of trees.stawell

Series of eleven photos taken in 1984 planting trees and 1993 showing some graves and also the growth of trees.stawell

Colour photos of the Ringwood East shopping centre. Query drainage works and autumn trees.East Ringwood shops - hardware shop at roundabout (3274_001); East Ringwood shops - post office (3274_002); East Ringwood shops - Paul's supermarket (3274_003); East Ringwood shops - unknown street (3274_004); East Ringwood shops - Lawrence Grove corner (3274_005); East Ringwood shops - Wright Bros (3274_006)

Issued to the members of the Allied Forces at Morotai on the occasion of the Surrender of the Second Japanese Army. "T.A. Blamey, General Commander-in-Chief".Small yellow paper printed with red sun, green palm trees plus water."Commander in Chief, AUSTRALIAN MILITARY FORCES" Advanced Headquarters, MOROTAI, 9th September 1945.japanese surrender, morotai 1945

One of a collection of 6 postcards donated by T. H. Hill Photograph of the old sea baths at Mussell Rocks, Cowes Sepia postcard of the Sea Baths at Cowes. Pine tree in foreground with yachts and land in the background."The Rose Series, P. 660" "The Baths, Cowes, Phillip Is., Victoria"sea baths cowes phillip island, the baths cowes, t h hill, mussell rocks cowes phillip island

One of a collection of photographs donated by Mrs W. Rankine.Black & white Postcard of the Isle of Wight Hotel with Morton Bay Fig Tree in foreground.Valentine Series No 823 "Isle of Wight Hotel," Cowes, P.I.phillip island, cowes, isle of wight hotel

One of a collection of photographs donated by Shirley PetersonSepia postcard of Lovers' Walk lined by a fence on the left side and trees on the right side."The Rose Series P. 3403" "The Lovers' Walk, Cowes, Phillip Is., Vic."lovers walk cowes phillip island, cowes phillip island, phillip island, shirley peterson

One of 20 photographs/postcards donated by Mary KarneySepia photograph copy of a postcard. Beach Road, Cowes with fences and trees lining the road."Along Beach Road, Cowes, Phillip Island, Victoria." "Real Photo Series M 1258"beach road, cowes phillip island, cowes phillip island, mary karney

A record of reserves and their features in the City of Banyule 1999. Full title: Beautiful Banyule: a register of out city's natural assets.A register of Banyule's natural assets104 pages, colour illustrations.Soft cover with treed skyline on front cover. 2 copies.Library labels.city of banyule, parks banyule, gardens banyule, historical sites banyule.

The Partington family farmed the Greensborough area from the 1870s. The two men pictured are brothers Tom Partington (1864-1942) and Joe Partington (1870-1942)Shows a view of Greensborough around 1900 as farm land.Sepia photograph of two men with a horse and plough, trees in background. Mounted on cream card.On back: Tom and Joe Partington at "Willis Vale". Tom:1864-1942 Joe:1870-1942. Faye's great uncles.willis vale, partington family, greensborough, joe partington, tom partington