Black & white photographnillumbik, diamond creek, iron bridge

PHOTOGRAPH OF GOVERNMENT BRIDGE OVER CRESWICK CREEK ON CRESWICK ROAD, CLUNES. PHOTOGRAPH DONATED BY CRESWICK MUSEUM. COPIED BY MR. SEMMENS FROM AN EARLIER PHOTOGRAPH.BLACK AND WHITE PHOTOGRAPH OF BRIDGE OVER CRESWICK CREEK AT CLUNES - GOVERNMENT BRIDGE, CRESWICK ROAD. EBERHARDS SOFT DRINK FACTORY IN CENTRE OF PHOTOGRAPH.local history, photography, photographs

ORIGINAL PHOTOGRAPH OWNED BY MRS. LENA COOK OF CASTLEMAINE RD. CRESWICK.. THE PHOTOGRAPH WAS TAKEN LOOKING SOUTH WEST, THE SMALL COTTAGE SOUTH EAST OF HOLDING KNOWN AS 'STRAINS' ON THE CORNER OF BALLARAT AND COOK'S ROADS, MAY HAVE BEEN THE TOLL HOUSE. A WELL BESIDE THE COTTAGE IS STILL NEAR THE ROAD. BESIDE THE NEW TOURELLO BRIDGE..1 FRAMED PHOTOGRAPH OF TOURELLO BRIDGE ON BALLARAT RD. OVER COGHILLS CREEK. .2 BLACK & WHITE PHOTOGRAPH (COPY) .3 BLACK AND WHITE COPY OF ABOVE PHOTOGRAPHlocal history, photography, photographs, bridges

PHOTOGRAPH OF TOWNSHIP OF CLUNES ABOUT 1875. LOOKING SOUTH. WOODEN BRIDGE IN FOREGROUND, 1 SEPIA PHOTOGRAPH MOUNTED ON CARDBOARD .2 SEPIA PHOTOGRAPH MOUNTED EDGES REMOVED .3 BLACK AND WHITE PHOTO PRINT .4 BLACK AND WHITE PHOTO PRINT .5 PHOTOCOPY OF PHOTOGRAPHFROM ANGUS STREET HILL LOOKING SOUTHphotographs, clunes township and mining and footy oval

.1.2 BLACK AND WHITE PHOTOGRAPH OF PORT PHILLIP HILL TAKEN CIRCA 1859. .1 HANDWRITTEN ON BACK: PORT PHILLIP MINE AND HILL TAKEN CIRCA 1859 PORT PHILLIP MINE SOUTH SHAFT CLUNES HOTEL IN MIDDLE OF P.P. PADDOCK CLUNES UNITED MINE CRITERIAN MINE CRITERIAN BRIDGE WOOSTERS BALLARAT RESTAURANT, DOES NOT SHOW IN LATER PICTURES PORT PHILLIP MINE FIRST BATTERY PORT PHILLIP HOTEL OPENED IN 1859, CONTINUED UNTIL LATE 1890'S CRITERION HOTEL, FIRST MASONIC MEET UP, BURNT JAN 1871 NEGATIVE OF THIS PHOTO IS AT LATROPE LIBRARY MELBOURNE SIGNED: J CONRAD WEICKHARDT .2 HANDWRITTEN ON BACK: PHOTO OF PORT PHILLIP MINE AND HILL TAKEN ABOUR 1859 OR 1860 THE NEGATIVE OF THIS PICTURE IS AT LATROBE LIBRARY MELBOURNE FROM CAMP PARADE photography, mining, port phillip hill, port phillip

PHOTOGRAPH TAKEN APPROXIMATELY 1912, BUILLDINGS INCLUDE ALBERT HOTEL; OLIVER'S BOOTMAKER; A POLLERD; TELEGRAPH HOTEL..1 SEPIA POSTCARD OF BAILEY STREET, CLUNES BETWEEN SERVICE STREET AND GOVERNMENT BRIDGE. INCLUDING TELEGRAPH HOTEL .2 BLACK AND WHITE REPRODUCTION OF THE ABOVE PRINTED ON MATTE PHOTOGRAPHIC PAPERlocal history, photography, photographs, shops- oliver's boot maker, a. pollerd., hotels

BLACK & WHITE PHOTOGRAPH GENERAL VIEW CLUNES TOWNSHIP WITH GOVERNMENT BRIDGE IN CENTRE OF PHOTOGRAPH, EBERHARD SOFT DRINK FACTORYphotographs, township, goverment bridge

THE PHOTOGRAPH WAS TAKEN FROM CREEK PARADE GOVERNMENT BRIDGE CRESWICK ROAD AND BUTTER FACTORY BRIDGE ACROSS TULLAROOP CREEK. GASWORKS..1 ORIGINAL SEPIA LANDSCAPE OF CLUNES MOUNTED ON CARDBOARD. GOVERNMENT AND JUBILEE BRIDGES ACROSS CRESWICK CREEK. GASWORKS NEARBY. .2 BLACK AND WHITE COPY OF THE ABOVE PHOTOGRAPH PRINTED ON GLOSS PHOTOGRAPHIC PAPER .3 HAND COLOURED POSTCARD PHOTOGRAPH OF THE ABOVE PHOTOGRAPH .4 TWO POSTCARDS WITH SAME PICTURE .5 FOUR SMALL PHOTOGRAPH COPIES WITH SAME PICTURE.1 ON BACK OF PHOTOGRAPH GASWORKS, BRIDGES AND CREEK. 1900 .3 ON FRONT OF POSTCARD GOV. BRIDGE CLUNESlocal history, photography, photographs, bridges and buildings

PHOTOGRAPH, - VIEW TAKEN FROM GEORGE STREET SHOWING LANDSCAPE, GOVERNMENT BRIDGE - LOOKING SOUTH WEST. .1 SEPIA PHOTOGRAPH MOUNTED ON CARDBOARD .2 SEPIA PHOTO PRINT .3 BLACK AND WHITE PHOTO PRINT .4 SMALL BLACK AND WHITE PHOTO PRINT .5 SMALL BLACK AND WHITE PHOTO PRINT GOVERNMENT BRIDGE CLUNES. SOUTH WESTlocal history, photography, photographs, bridges and buildings

BLACK AND WHITE PHOTOGRAPH OF CLUNES TOWNSHIP. SMOKE STACKS, MULLOCK HEAPS, TWO POPPET HEADS, TWO BRIDGES OVER CREEK, DWELLINGS. SEVERAL LARGE TREES AND SMALLER TREES IN TREE GUARDS.local history, photography, photographs, clunes township

BLACK AND WHITE PHOTOGRAPH OF JUBILEE BRIDGE.JUBILEE OR QUEENS BRIDGE PRIOR TO 1960local history, photographs, bridges, jubilee bridge

THIS BRIDGE WAS DEMOLISHED IN 1962 AND A NEW BRIDGE WAS ERECTED.BLACK AND WHITE PHOTOGRAPH OF JUBILEE OR QUEEN'S BRIDGE OVER TULLAROOK CREEK, CLUNES.TULLAROOK CREEK, CLUNESlocal history, photography, photographs, bridges

BLACK AND WHITE PHOTOGRAPH OF THE SUSPENSION BRIDGE OVER TULLAROOP CREEK, CLUNES.CLUNES 1880.local history, photography, photographs, bridges

BLACK AND WHITE PHOTOGRAPH , TAKEN FROM CRESWICK ROAD, SHOWING GOVERNMENT BRIDGE AND BIBLE CHRISTIAN CHURCH.local history, photography, photographs, bridges

SUSPENSION BRIDGE WAS SWEPT AWAY IN A FLOOD ABOUT 1909.BLACK AND WHITE PHOTOGRAPH SHOWING THE SUSPENSION BRIDGE IN FOREGROUND, GOVERNMENT BRIDGE IN CENTRE.MAYBE THIS IS THE SWING BRIDGE WHICH WAS SWEPT AWAY ABOUT 1909. IT WAS ABOVE EBERHARD'S CORDIAL FACTORY.local history, photography, bridges, suspension bridge

CONSTRUCTION OF BRIDGE OVER CLUNES CREEK.1 .2 BLACK AND WHITE PHOTOGRAPH (COPY) OF BRIDGES UNDER CONSTRUCTION - BRICK ABUTMENT. SCAFFOLDING ON TOP, WORKMEN ARE STANDING ON TOP.local history, photography, photographs, bridges

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge. Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gate, fire, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60.This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Black and white lithograph on paper depicting the elaborate stone and wrought iron (open) gate/ entrance to Pugh's artist colony 'Dunmoochin' situated at Cottles Bridge.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, sunlight, lithograph

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white detailing the Artist's Gallery at Dunmoochin, located within bush surrounds at Cottles BridgeBottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, gallery, lithograph

Pugh was one of many artists who brought an Australian experience to attention. This work reveals the colour, textures, harshness and inhabitants of the natural bush, with the angular forms found on the ‘black birds’ dominating the composition with dramatic effect. Shanahan, Albert Tucker, Frank Werther and Fred Williams have at one time settled and or work there. Untitled (Black Birds) from the Bodford Terrace Suite 1978, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come lithographic print on French Arches paper. Dynamic and expressive depiction of black birds in flight on far left of composition, cropped elements of Australian landscape in blue and red in the background (trees, shrubs, rocks). Inscribed lower right 'Clifton'; 1:1; 179/300clifton pugh, bodford suite, dunmoochin

Oil on canvas board, landscape painting in muted tones of an dry creek bed. Trees line the creek banks and a log bridge crosses the creek bed, perhaps built from the local tree timbers.Lower right, black paint 'Yvonne Ball'

Landscape painting of "a pool of water" and its surrounding Australian bush landscape. May be a reference to the Black Dam near Dunmoochin, Cottles Bridge.Signed and dated lower right corner "Harkin 1982"landscape, eltham, dam, cottles bridge, water, bush

Historic views of the old wooden bridge, since replaced, and also showing the configuration of the river at that time.River and bridge integral part of Peterborough life. Digital image of two black and white photographs of the Bridge over the Curdies River, both taken from the East side showing different water levels in the rivercurdies river, curdies river bridge peterborough, peterborough victoria, great ocean road, curdies river estuary

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt

B/W photo of Signal Box 2 and train coming into Stawell Railway station. Signal box also called Signal box b.Black & white photo of train coming into station with person at signal box holding up ring for exchange with person leaning out of train. Pedestrian bridge above rail lines. stawell

Mr. W. Howard standing among his bee hives.Black and white photograph of many bee hives in front of a heavily timbered area. One person is standing about the middle of the bee hives.dadswells bridge

Home of Fred & Laura Howard married 1902. Standing in front of Slab hut home are four people. Jack Howard, Alan (Ike) Howard. Rene Howard, Sorrie Howard and the twins in the crib Rodger and Andrew Howard. Little Wimmera River Dadswell's Bridge.Black and white photograph of a family group in front of a timber slab home with a corrugated iron roof. The family group consists of two standing and two closer to a crib with two young babies. Two of the females look to be holding animals and a cat can be seen nearby. Jack Howard, Alan (Ike) Howard, Rene Howard, Dorrie Howard and the twins in the crib, Rodger Howard and Andrew Howard. house

Salvation Army Group, four standing two seated in front of a paling fence. Adjutant John Perry seated next to this wife Mrs. Perry was the leader of the Stawell Salvation Army at this time in 1911. The post card was donated to the society by Mrs. Ruth Pickering from Dadswell's Bridge and the daughter of John Perry. A black & white Post card with four people standing and two seated in front of a paling fence. The five woman have long dresses and four have hats on. One of the women has a white shirt & white hat where the other women are in dark clothing. The male in the photograph is dressed in a uniform.Post Empire Card. Handwritten - Standing from left Jean Chandler, Sadie Mathews, Mrs. Moy. adj. John Perry & Mrs. Perry, Stawell 1911.stawell religion