C 1930's/40's. This is a photo of a group of tourists on Lawson's Lookout, taken by Gilbert Rogers, a well known Hall's Gap photographer.The photo shows a group of twenty-one men and women posed on a rocky outlook. A bushy valley can be seen below with a road winding into the distance."Lawson's Lookout Rogers 1012" inscribed into lower part of photo.scenery, lookouts, people, tourists

High level of local significance as there are many names and addresses of present and past identities.Tan coloured book with black spine containing all names of attendees at the Yendon school centenary celebrations 7/3/1964 AND containing names of attendees at the last school concert 16/12/1993"Visitors" in gold coloured script on cover, lower right hand.centenary, yendon state school, yendon public school, visitors, yendon, school concert

Around 1900 the Ballarat School of Mines had an international reputation. it is thought that that this photograph was originally taken by the New South Wales Mines Department during a visit to Victoria. This photograph was reproduced in the Ballarat School of Mines Annual Report 1900 This image is now (2012) used as Founders' Room in the Ballarat School of Mines Administration Building. Black and white photograph on green mountboard. It shows three men in a Ballarat School of Mines laboratory surrounded by chemicals and scientific equipment.Written on lower mount "Analytical Lab. S.M.B. Mines Deptmining, ballarat school of mines, chemistry, laboratory, scientific objects, scientific instruments, analytical laboratory, administration building, a building, founders room

Tom is probably a part of the Pickford familyAn AIF soldier stand in coat. He is wearing a slouch hat and holds a stick.In ink on lower right corner: "Yours sincerely Tom 1.3.18world war one, world war 1, world war i, chatham, chatham family collection, pickford, soldier

Port of Portland Authority archivesFront: (no inscriptions) Back: dred 011 (pencil, lower right)port of portland archives, dredging, priestman stippert, barge

Port of Portland Authority archivesFront: (no inscriptions) Back: dred 020 (pencil, lower right)port of portland archives, dredging, priestman stippert, barge

Port of Portland Authority archivesFront: (no inscriptions) Back: DRED. 010 (pencil, lower right)port of portland archives, dredge, harbour dredging, portland harbour trust

Port of Portland Authority archivesFront: (no inscriptions) Back: dred 018 (pencil, lower left)port of portland archives, dredge, harbour dredging, portland harbour trust

Port of Portland Authority archivesFront: (no inscriptions) Back: dred 019 (pencil, lower right)port of portland archives, dredging, priestman stippert, barge

A coffee mug from Bendigo's pottery.Bendigo Pottery Australia logo on the lower bottom next to the handle.business, retail, material, bendigo pottery website

Peach coloured nylon nightgown made by HANRO Bendigo. Bodice gathered at front onto a plaited band under the bust. On each side of the band three ties (102cm) extend from the ends of the plaited band. Shoulder straps made up of three pieces of nylon tubing attached back and front and plaited over each shoulder. Back of bodice in two pieces. Ankle length A line skirt. Colour at bodice is pale peach colour that darkens as it descends to the hem where it becomes a deep orange colour. Nightie given to donor by her grandmother who received the nightie as a prize at a Hanro meeting. Donor's uncle John Preston, father George Preston and mother Gwen Washington (machinist) all worked at Hanro.HANRO 100% Nylon SW on tag on lower side seamcostume, female, peach coloured nightgown

No further information other than the inscription.Sepia portrait."Mr Harbison, A Trustee and loyal supporter of the Lower Hawthorn church"harbison, lower hawthorn

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

David Armfield studied at the National Gallery School in the 1940s and turned to full time painting in 1965. RMIT printamking. He has won several art awards, including the Ramsay Prize - NGV School, the Redcliffe and in 1980 the Eltham Prize. Armfield is represented in the National Gallery collection, Art Gallery of NSW, Tasmanian Art Gallery, several regional art galleries across Australia as well as private collections. David Armfield first came to Eltham in the late 1903s on painting trips and used to camp on the banks of the Diamond Creed. He returned to Eltham in 1957 with his wife Joan who has subsequently become one of the district's potters, and built a mud brick house and studio in John Street on land adjoining Peter Glass. He has painted many landscapes in the district including intimate studies of the bush floor and the aftermath of bush fires.Oil on canvas painting depicting a Panton Hill bush scape.Signed: D. Armfield in lower right hand corner. Not dated.david armfield, eltham art prize, panton hill

Walter Withers was a significant Australian landscape artist and a member of the Heidelberg School of Australian Impressionists. In 1903 Withers bought 'Southernwood', a house on 2½ acres (1 ha) at Eltham, to which he added a studio. Because of ill health, he lived during the week at his studio in Oxford Chambers, Melbourne, and on weekends and holidays with his family at Eltham until his death in 1914. The Eltham rail bridge is a unique and valuable historic relic of an earlier steam locomotive transport era in the Diamond Creek Valley and has long formed an important part of a magnificent Eltham landscape. When built in 1902 it was close to the terminus point of the Heidelberg-Eltham rail extension, on the route of the proposed Diamond Valley Railway that was then planned to continue much further up the valley towards Kinglake. This bridge is situated in attractive river-valley parkland amidst the tall and spreading manna gums and candlebarks of the Diamond Creek Valley. The Alistair Knox Park river-valley landscape, of which the timber trestle bridge is an important visual component, has been classified by the National Trust. Large manna gum and candlebark trees adorn the adjacent creek banks, and historic Shillinglaw Cottage is also part of this much-prized Eltham landscape. Eltham is home to a historic wooden railway trestle bridge. Mainly of timber-pier and timber-beam construction, but varied by a few longer steel-joists spans on timber piers at the main stream channel, this substantial bridge has almost two hundred metres of timber deck. Built in 1902, it is the only railway bridge of predominantly timber construction that is still in regular use as an integral part of Melbourne's metropolitan electric railway network and one of extremely few timber rail bridges in the State that still carry trains. Apart from its important continuing social function as a carrier of rail transport for the Hurstbridge line, this impressive bridge and its beautiful parkland environs contribute much to the character of Eltham township and that town's special reputation as an historic centre of environmental and conservation concerns. This section of the Diamond Creek Valley was the subject of a Walter Withers painting in the earliest years of the twentieth century and has strong historic links with our Heidelberg School of painters. Watercolour painting on paper of Eltham's Trestle Bridge in the middle of the day. A small section of the wooden bridge is located to the left of the painting. The focus is predominately on the wattle, manna gum and candlebark trees that is to the right of the bridge. The golden hues typically represent the australian sunlight and landscape. "W.W" in gothic script on the lower right side of the painting. Not dated. withers, eltham, trestle bridge, railway, watercolour

Rick Amor was a good friend of three times Archibald Prize winner Clifton Pugh, living and working at Pugh's artist colony Dunmoochin, (Cottles Bridge) during the 1980-1990s. Amor made frequent outdoor painting trips with Pugh. His studies of Williamstown and areas around the port fuelled a period of sustained painting in his studio at Dunmoochin. Amor is an artist of national significance who had lived locally in Dunmoochin (Cottles Bridge) during the time of this work's making. This painting was exhibited/entered into the 1993 Shire of Eltham Art Awards. The work is representative of Amor's style and interest in seascapes as subject matter. Oil on linen, seascape painting. A solitary and motionless male figure in an overcoat stands at the edge of a dock/jetty with his hands in his pockets looking out to sea with his back towards the viewer. A motorised boat is moored close by and a white house with a blue roof can be seen in the distance. The figure is engulfed by the landscape and a resounding sense of desolation. A storm is brewing; the mood forecast by dark, heavy and thick ominous clouds, alternately darkening with the approach of night, a polluted haze and rough seas. In red paint, lower right, signed 'RICK AMOR '93'amor, seascape, painting, personal, boat, dramatic, atmospheric, ekphrasis 2015, dunmoochin

This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. This drawing has a link to another of Wegner's work in the Collection, the lithograph 'Mandarin on a Kitchen Table'. This portrait is of Danny Moynihan, one time lecturer at Phillip Institute of Technology (now RMIT - Bundoora campus) who taught Wegner printmaking (lithography) when he was a student at the institute in the 80's. Wegner is well known for his drawings and enjoys the immediate and directness of the process. He sees the drawn image as an experience of observation, with the content revealing the process of its making. He is inspired by English artist Leon Kossoffs' drawings where the likeness of the subject is secondary and separate from the credibility of the drawing itself. Black and white charcoal portrait drawing on paper of artist/teacher Danny Moynihan.Hand written (signature) in charcoal - lower right - 'Peter Wegner'wegner, drawing, charcoal, black and white, moynihan, artist, teacher

'Kees Hos 427' lower right under printed image.

'Kees Hos 421' lower right under printed image.

Charcoal on paperSigned and dated 'Bellany '83' in lower right corner of drawing.

Charcoal on paperSigned and dated 'Bellany '83' in lower right corner of drawing.

Charcoal on paperSigned and dated 'Bellany '83' in lower right corner of drawing.

Pastel on paperSigned and dated 'Bellany '83' in lower right corner of drawing.

Pastel on paperSigned and dated 'Bellany '83' in lower right corner of drawing.

Charcoal on paperSigned and dated 'Bellany '83' in lower right corner of drawing.

Charcoal on paperSigned and dated 'Bellany '83' in lower right corner of drawing.