A b/w photograph of the Macedon Street bridge over Jackson's Creek, with a car approaching.macedon street, bridges, jackson's creek, transport, sunbury, george evans collection

One man lost his life during the building of this bridge. The bridge was constructed by the Victorian Railways between 1927 to 1929 to carry a new double track goods line. This enabled trains from all parts of the state except Gippsland to have direct access to the Tottenham marshalling and sorting yards. These yards were constructed in the 1920's to relieve congestion in the Melbourne Yard near Spencer Street station. The congestion was being caused by the construction of suburban passenger platforms associated with the electrification of the suburban railway network. Initially the bridge was for goods trains but during the Second World War it was also used by troop trains. When the standard gauge line was built in 1962 all trains to Albury and Sydney have used this route, thus avoiding travelling through Essendon and Pascoe Vale on the suburban tracks. The standard gauge track across the bridge took the place of one of the broad gauge tracks so broad gauge trains crossing the bridge in either direction have to now use the same track. The bridge is 1,257 feet (383.13 metres) long and 180 feet (54.86 metres) above the water level. It is just 63 feet (19.2 metres) short of a quarter mile in length between abutments. There is a similar bridge on the same railway line crossing the Moonee Ponds Creek between Gowenbrae and Glenroy, however it is smaller at 1060 feet (323.08 metres) length and 115 feet (35.05) height.The bridge is now Victorian Heritage Registered under Number: H1197, and Heritage Overlay Numbers HO5, and HO107. On the Heritage Register it is named RAIL BRIDGE (ALBION VIADUCT). According to the Heritage Report the bridge is scientifically and architecturally important because of its large size, and because of the cost effective design features such as two girders per span (one for each track), the K bracing in the towers, and the broad flange beams as columns. When it was being built it was the largest trestle bridge in Australia, and until the Sydney Harbour bridge was constructed it was the highest railway bridge.Five B&W yellowing photos showing stages of construction of the Maribyrnong River Viaduct known as the Trestle Bridge but mainly known locally as the QUARTER MILE BRIDGE. It is a railway only bridge which runs over the Maribyrnong River between Sunshine North and Keilor East. A sixth image, which is not part of this set of photos, is included to show what the completed bridge looks like.

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

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

Oil on canvas board. Landscape painting of Eltham with Brougham Street bridge in the foreground. People walking down the road and cars in the backgroundLower left, red paint 'HILARY JACKMAN 80'landscape, painting, eltham, bush, bridge, brougham street, jackman

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

When a ferry was the only way to cross the river, a bell was rung to call the ferryman. this letter explains that the bell was sold to raise funds for construction of the bridge. Mr W. B Cumming bought the bell and passed it to Mrs T. McKenzie. this statement was written and signed by Mrs W.B.Cumming and further states the expectation that a tower and belfry would be constructed, along with a plaque memorialising church members and Mr W.B Cumming.Significant because it specifies what happened to the Ferry call bell, which was very important when the ferry was the only way to cross the river. Photocopy of a statement by Mrs W. B Cumming explaining the history of the bellbells, ferry, curdies river, curdies river bridge, curdies river ferry, mr w.b. cumming, peterborough

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

B/W Stawell railway yards. Taken from step bridge 1950's.stawell transport

Huttley - Martin FamilyB/W Studio Portrait: Young Woman in white dress with puffed full length sleeves Sitting on chair leaning on whicker tableW. mason & Co. 150 Bridge Road, Richmond. Melbournehuttley, martin

Associated with - Malmsbury Or Coolgardie? Buildings - "Bridge, Water Race" People - "Ellis, Florence Sarah; Ellis Godfrey William"

B/W photo mounted on board depicting bridge at Blackburn Road with car in picture.bridges, blackburn road blackburn

Small photograph of the High Street Bridge over the Railway line.On back: "With complements of NG Pearce. B Jasper" "High Street Bridge over Railway Line"high street, railway

This set of 8 photographs was produced by the Rose Stenograph Co. c1913 to be included in photograph albums. They show tourist scenes of Sassafras and surrounds. The photographs were donated by a family in Western Australia whose parents lived in Sassafras c1918.Small b & w photograph from a series of 8 showing scenes from Sassafras produced by the Rose Stenograph Co. c1913.On reverse - Tourist Track, Sassafrassassafras, bridge, footbridge, rose series

Collection of 57 black and white photographs of bridge and roadworks around the South Gippsland Shire 1965-1969. Includes images of several public buildings. Locations include Inverloch, Dumbalk & Meeniyan. Photographs taken by the Country Roads Board photographer. Mounted on cream textured card. Several have captions affixed. Each photograph is stamped and numbered on the reverse with the negative number used by the CRB. A prefix of 65, 67 & 69 is noted as part of the negative number which relates to the year the image was taken.

Yields information about the appearance of the intersection of Grenville and Bridge St prior to the opening of the horse tram service.Digital image of Bridge St looking east from the intersection of Sturt and Grenville St Ballarat, prior to the construction of the horse tram line, c1885. Shows the NE corner prior to the construction of the Nichol and Alan Building. Has the W. M. Bean? store on the corner, F. B. Wilson, Bucks Head Hotel, a paper hangings supplier, watchmaker and other stores. Postcard or image has title "Bridge St, looking East from Sturt St, Ballarat"trams, tramways, bridge st, grenville st, sturt st

Yields information about the streetscapes of Ballarat on the Gardens to Victoria St route and in particular buildings and people that crewed the trams.Set of nine Colour 27 x 27 mm slide in a Kodachrome cardboard mount. .1 - R. Williams (Motorman) and Danny Powell (badge 30) standing in front of a tram at Victoria St. The tram has the destination of Gardens via Sturt St West. .2 - view of No. 113 Victoria St - now Ardenlee B&B. .3 - Sunshine Biscuit Factory .4 - Mack's Hotel .5 - Stones Corner - intersection of Victoria and Mt Pleasant routes .6 - Crossing Grenville St .7 - No. 30 at the City terminus, Lydiard St with Racey's and the SEC office in the background. .8 - as for .5, but looking east with the Caltex service station in the background. .9 - No. 30 at the Victoria St terminus. Slide mount date August 1971. Photo from the collection of Lilian Butler.ballarat, tramways, trams, victoria st, bridge st, stones corner, tram 30

Black and white print of a donated negative. Print made 8/1998. Photo of SEC tram no. 31 in Main St, Ballarat East, with destination of "Gardens via Drummond St." Tram has been fitted with dash canopy lighting, but not the large white strip under the lighting. Has small triangles on the panels. Also has a small ad for White Horse whisky. Shows buildings on either side of Main St. and the Caltex service station in the background on Main Road and Bridge St. Photo taken 23-6-1962. Copy made Oct. 2001 for the "gold, Gold GOLD" temporary exhibition - colour laser print onto card, with Velcro dots on rear. Stored in box D1 (Display Box) 02/2003. High Res scan of negative added 17/1/2019.tramways, trams, main st, 31, ballarat, tram 31

Black and white print of a donated negative. Print made 8/1998. Photo of SEC bogie tram No. 22 in Bridge St. Photo taken 23-4-1950. Destination of "Gardens via ???" in one line? Has Norman L.Davis building in foreground and buildings on either side of street. Negative has watermark on left hand side. High Res scan of copy negative added 17/1/2019tramways, trams, bridge st, 22, ballarat, tram 22

Black and white print of a donated negative. Print made 8/1998. Photo of a street scene in Swanston St. Melbourne on the Princes bridge with St Paul's Cathedral in the background. Has two W2's in the photo, a number of motor cars, also the Princes Bridge Station building. Photo taken 13-8-1950. Image i1 high res scan of the negatives added 18/1/2019.tramways, trams, melbourne, swanston st., princes bridge

Yields information in movie film format of Ballarat trams in 1962, a enthusiast tour, how the system operated and was used by people., Yields information in movie film format of Ballarat trams in 1962, a enthusiast tour, how the system operated and was used by people.Movie film - 8mm, approx. 4.15mins, with green leader strip on a plastic reel, within a Gevaert film cardboard box, with a Harvin Film Laboratory r, Marrickville NSW label and address to B.J. Parle, Chatswood and a 5d stamp. Titled "Ballarat 1962". Has been transferred to DVD - see Reg item 4100 as Segment No. 6. Filmed and made by Ben Parle. Also transferred to DVD by Rod Cook Oct. 2015, via Roger Greenwood for use in his DVD, "The City of Ballarat Trams, Gardens & Gold" of 2016. See Reg Item 6883. Synopsis: based on time - Black and White film Title "Ballarat 1962" 0:00 37 departing City Centre in Sturt St, east bound, followed by 18 0:23 18 and 37 arriving into City Loop from Bridge St. 0:40 18 and 37 passing through the Gregory St Loop 0:54 18 and 37 arriving and at Lydiard St Nth terminus 1:15 18 and 37 in Lydiard St Nth 1:22 18 and 37 at Railway St gates, with gates closed with B class hauled passenger train, wooden and air-conditioned carriages departing. 1:51 Interior view of passengers in 18 2:10 View from a side window of 18 turning from Lydiard St Nth into Sturt St, heading east, with an inspector getting off No. 18 2:23 View from front window in Victoria St and entering King St loop to cross No. 14. 2:55 18 and 37 departing King St loop, in bound. 3:10 18 in Barkly St, outbound 3:38 42 in bound Drummond St Nth and turning into Sturt St at Hospital corner. 4:16 End Written labels giving title information on outside of box.trams, tramways, ballarat, gardens, victoria st, bridge st, sturt st, tram 18, tram 37, tram 42

Yields information about the operations of the Ballarat Tramway system prior to closure and some of the tours that were operated. Kodak - Kodachrome slide - cardboard mounts Tram 26, with destination of City, inbound in Main Road, with Impala Motors and Robson Glass merchants in the background - 5/9/1971 - last day of Mt Pleasant line. See notesIn ink on slide: "Sunday 5 Sept. 1971, Approaching Bridge St from Mt. Pleasant, last day of Mt Pl. operation. This car provided, with preceding car No. 27, supplementary service to cater for Vintage train passengers who went to Sovereign Hill. They left City c1250, returned c1.05pm before first usual car. They ran as service cars b/c no specials allowed on last day."tramways, trams, main road, mt pleasant, sovereign hill, tram 26

Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Set of seven images of the ARHS Special tour of Bendigo on 20-10-1962. .1 - Trams 28, 30, 21, 7 and 19 in Pall Mall .2 - 18, 26, 29, 11 and 5 at the Bridge St loop on the North Bendigo line. .3 - 28, 30, 21, 7, 19 on "down" line and 18, 26, 29, 11, 5 and service car 3 on "up" line, View St Opposite Oval .4 - 28, 30, 21, 7, and 19 at Eaglehawk .5 - 28, 30, 21 in North Bendigo siding and 7 and 9 in Thunder St - photo taken in Thunder St. .6 - ditto photo taking from vacant land on the south side of the terminus, along with No. 6 the service tram. .7 - 28, 30, 21, 7, 19 in View St with Goodyear and Caltex signs in the photo and the Commercial Banking Company of Australia building in the background. Most printed on Ilford paper.On rear in ink. .1 - "28, 30, 21, 7, 19 Pall Mall 20-10-62" .2 - "Bendigo ARHS Convoy "A" on Bridge St loop, Nos. 18, 26, 29, 11, 5 20/10/62" with Keith Kings copy right stamp printed in top right hand corner and number "N(y)(12)" written in. .3 - "18, 26, 29, 11, 5 and service car 3 on "up" line, 28, 30, 21, 7, 19 on "down" View St 20-8-62" .4 - "28, 30, 21, 7, and 19 Eaglehawk 20-10-62" .5 - "19, 7 in, 28, 30, 21 in spur siding Nth Bendigo 20/10/62" .6 - "28, 30, 21, 7, 19 plus No. 6 service car Nth B/go 20/10/62" .7 - "Bendigo ARHS Convoy "B" - 28, 30, 21, 7, 19 Charing Cross, 20/10/62" with Keith Kings copy right stamp printed in top right hand corner and number "N(y)(14)" written in.trams, tramways, bendigo, arhs, tours, eaglehawk, north bendigo, view st, tram 28, tram 30, tram 21, tram 7, tram 19, tram 6, tram 18, tram 26, tram 29, tram 11, tram 3

Locomotive G41 on a trestle bridge at Colac Station with two enginemen. Another G class locomotive sits in the background. B/W.colac; beech forest; railway; locomotive g41;

Railway bridge over the Gellibrand River, 1902. Note the people on the roadway bridge in the top left corner. B/W.colac; beech forest; gellibrand; railway;

In 1898 a recommendation for a railway of 2 ft 6 in gauge was handed down by the Parliamentary Standing Committee on Railways, to cost $138,000. Construction of the Colac-Beech Forest railway line began in 1900. About 100 men were employed in laying and ballasting the track while others formed the earthworks and the building of culverts and bridges. The earthworks of gravel ballast 150 mm deep were formed by horse and scoop or by shovel. Once the bed had been laid surveyors went along to check the layout, particularly all check rail curves and all 100 metre curves which the surveyors in the picture are doing.B/W. Three men surveying the construction of a curved bed on which track will be laid, near Barongarook, Victoria.colac; beech forest; barongarook; railways;

B/W. Between Dinmont and Ditchley, a man on a railway bridge overlooking a waterfall in 1919. dinmont; ditchley; beech forest; waterfall; railways;