Showing 321 items
matching b. bridges
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Benalla Art Gallery
Ceramic, ROYAL CROWN DERBY, Pair of urns, 1889
Established: Derby, Derbyshire, England in 1750 by Andrew PlancheVictorianLedger Bequest, 1993Urns in traditional Royal Crown Derby pattern of blues, flowers and gilded decoration.Verso: A: "ROYAL CROWN DERBY" above ROYAL CROWN DERBY maker's mark right of hole in centre; "ENGLAND" vertical to right of maker's mark in red underglaze; "1134/2553" in orange underglaze above maker's mark. B: "ROYAL CROWN DERBY" above ROYAL CROWN DERBY maker's mark right of hole in centre; "ENGLAND" vertical to right ofmaker's mark in red underglaze; "1134/2553" in orange underglaze above maker's mark. "B" in orange underglaze to the far left of makers mark.ceramic, urns, decorated, gilded, floral, royal crown derby -
Benalla Art Gallery
Painting, Bernard HALL, Lamplight, Not dated
Born: Liverpool, Lancashire, England 1859; Arrived: Melbourne, Victoria, Australia 1892; Died: London, Middlesex, England 1935TonalismGift of Wooleen Pty. Ltd., 1980Interior with seated figure wearing dinner suit with cigarette and lamp. Gold brushed timber frame.Signed "B. Hall" in dull cream oil in l.l.c of composition; Not dated; Not titlepainting, interior, figure, lamp, man, glass -
Benalla Art Gallery
Painting, W. B. MCINNES, Moonrise, 1910
Born: St Kilda, Victoria, Australia 1889; Died: Melbourne, Victoria, Australia 1939ImpressionismGift of Wooleen Pty. Ltd., 1980Evening rural landscape with buildings, trees and moon. Gold brushed timber frame.Recto: Signed and dated 'W.B. / McINNES 10' in brown oil in l.l.c of composition; Not titled painting, landscape, tree, sky, house, farm, moon -
Benalla Art Gallery
Painting, W. B. MCINNES, Volendam fisher folk, Not dated
Born: St Kilda, Victoria, Australia 1889; Died: Melbourne, Victoria, Australia 1939ImpressionismLedger Gift, 1985Expressive brushstrokes in muted colours of two figures fishing in foreground with buildings, tower and trees in background. Timber frame.Recto: Signed "McINNES" in dark brown oil in l.r.c of composition; Not dated; Not titledpaintings, rural, buildings, figures, clouds -
Benalla Art Gallery
Watercolour, B. E. MINNS, Bathers at the beach, 1935
Born: Dungog, New South Wales, Australia 1864; Lived and worked: England and France 1895-1915; Died: Taronga Park, New South Wales, Australia 1937InterwarLedger Gift, 1987Figures relaxing under trees overlooking beach with buildings and hills in the distance. Thin gold brushed timber frame.Recto: Signed and dated "B.E.MINNS / 1935" in brown watercolour in l.l.c of composition; Not titled watercolour, seascape, trees, figures, beach, buildings -
Clunes Museum
Photograph - PHOTOGRAPHS
23 X COLOURED PHOTOGRAPHS OF THE 2010 FLOODING OF CRESWICK CREEK IN CLUNES .1QUEENS PARK .2 BLACKMORE ROAD .3 BOWLING GREEN .4 LIGAR STREET .5 QUEENS PARK .6 TOWARDS BOWLING GREEN .7 QUEENS PARK .8 BOWLING GREEN .9 SENIOR CITIZENS .10 THE OVAL .11 33 ANGUS STREET .12 WATER CURRENTS .13 LOOKING TOWARDS FORMER TONY BAILEY'S HOUSE .14 ANGUS STREET .15 LOWER FRASER STREET .16 CORNER CAMERON STREETS - FLOOD PEAK AT 5PM .17 AT GOVERNMENT BRIDGE .18 LOOKING DOWN CAMP HILL .19 FORD .20 BUTTER FACTORY B RIDGE .21 BESIDE BOWLING GREEN .22 BUTTER FACTORY BRIDGE .23 DAMAGE AT FORD clunes floods 2010, creswick creek flood -
Victorian Aboriginal Corporation for Languages
Book, Gib Wettenhall, William Barak : bridge builder of the Kulin, 2006
Detailed information about William Barak: his art, humanity and personal history, spanning the years of White Settlement and the political involvement with Coranderrk.b&w photographs, colour photographswurundjeri, william barak, coranderrk, yarra yarra -
Uniting Church Archives - Synod of Victoria
Photograph, Rev. R. B. Sparks, C. 1960s
Rev. Ronald B. Sparks, B.A. Ordained 1953. (WA) Maylands 1953–57; Canning Bridge 1957–62; AIM Kimberley Patrol 1962–65; Asst Superintendent AIM 1965–70; Mosman 1970–76; Parramatta 1976–.Head and shoulder portraits of a minister in clerical garb."Rev. R. B. Sparks"sparks, r. b. -
Hume City Civic Collection
Photograph
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 -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Book, Coates Rhonda B, Searching for the Man from Snowy River
A lively account of the planning,construction,and celebration of the bridge over the Snowy River at Deddick, previously the major river crossing between the Monaro and East Gippsland, first by foot or horseback then ferry or punts.bridges, waterways -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Postcard, 1906 c
Letter dated 20 February 1907 written on back to Miss Clark Turnbull Bairnsdale from E W B Batton Bruthen 2 penny stamp Queen VictoriaBlack and white postcard of the bridge over the Tambo River with Star Hotel visible on the hill, logs on ground below bridge Bruthen Victoriabridges, ships and shipping, waterways -
Sunshine and District Historical Society Incorporated
Photographs (1928), 'QUARTER MILE' BRIDGE Construction, 1928
... it was the highest railway bridge. Five B&W yellowing photos showing stages ...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. -
Clunes Museum
Photograph
PHOTOGRAPH OF CLUNES TAKEN FROM CLUNES SCHOOL HILL 1905. LOOKING WEST, PRESBYTERIAN CHURCH (ST.ANDREWS) METHODIST (WESLEY) Etc..1.2 TWO SEPIA POSTCARD PHOTOGRAPHS OF CLUNES TAKEN FROM THE SCHOOL HILL. - POST OFFICE, TOWN HALL, ST. THOMAS AQUINAS, ST PAUL'S CHURCH,FRASER STREET SHOPS, ALBION HOUSE, CLUB HOTEL, BUTTER FACTORY BRIDGE AND BUTTER FACTORY, LION HOTEL. .3 PHOTOCOPY BLACK AND WHITE OF THE POSTCARDS.1 Addressed to Miss. L. Weickhard C/o Lucas's Cafe Collins Street Melbourne. One penny stamp affixed, postmarked 05 Message: Dear Miss Wieckhard, Many thanks for the post cards you sent me. This is one to add to your collection, With Kind regards From Florrie B .2 Addressed to Mrs. L. McLennan Olive Marlborough Rockhampton Queensland Message With best wishes for a happy New Year E.M.S.photography, town hall, post office, weickhardt -
Clunes Museum
Photograph - PHOTOGRAPH & COPIES, CIRCA 1862
PHOTOGRAPH TAKEN BEFORE 1862 BECAUSE HALL BETWEEN CLUB HOTEL AND ES&A BANK WAS REMOVED IN 1862 TO BECOME CHURCH OF ENGLAND SUNDAY SCHOOL. CALEDONIAN BRIDGE IN FOREGROUND1. COLOURED COPY OF PHOTOGRAPH OF CLUNES TOWNSHIP 31CM X 29.5CM 2. B & W COPY OF PHOTOGRAPH OF CLUNES TOWNSHIP 20CM X 25.5CM 3. B & W PHOTO OF CLUNES TOWNSHIP 8.76CM X 14CM 4. COLOURED COPY OF PHOTOGRAPH OF CLUNES TOWNSHIP 10.5CM X 14.75CM 5. COLOURED COPY OF PHOTOGRAPH OF CLUNES TOWNSHIP 9CM X 13CMCLUNESlocal history, photography, photographs, clunes township -
Nillumbik Shire Council
Print (Lithograph) Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin. Pugh's Gate, before the Fire, / Printed 2004
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 -
Nillumbik Shire Council
Print (Lithograph) Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Sunlight, / Printed 2004
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 -
Nillumbik Shire Council
Print (lithograph): Alice Blanch CHEHOVSKI, Alice B. (Blanch) Chehovski, Dunmoochin, Artist's Gallery, Printed 2004
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 -
Nillumbik Shire Council
Painting: Walter WITHERS (b.1854 Warwickshire, UK — d.1914 Eltham, Aus), Trestle Bridge, Eltham, c.1903-10
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 -
Nillumbik Shire Council
Painting: Hilary JACKMAN (b.1943 Melb AUS), Brougham Street Bridge, 1980
... Street Bridge Painting: Hilary JACKMAN (b.1943 Melb AUS) ...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 -
Nillumbik Shire Council
Painting: Tony Harkin (b.1938 Aus), Bush Study, 1982
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 -
Peterborough History Group
Letter - Statement regarding location of the old ferry call bell
... was sold to raise funds for construction of the bridge. Mr W. B... was sold to raise funds for construction of the bridge. Mr W. B ...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 -
Nillumbik Shire Council
Print (sugarlift etching): Jan SENBERGS (b.1939 Lativia, arrived AUS 1950), Jan Sensbergs, 'New Jersey - rust belt' from the 'Baldessin & Friends' commemorative folio, 2016
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 -
Stawell Historical Society Inc
Photograph, Signal Box with a train coming into the station
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 -
Stawell Historical Society Inc
Photograph, Train Derailment near Glenorchy February 1971-- 6 Photos, 1971
Series of six photographs of Train derailment near Glenorchy February 1971. These Photographs are copies o=from negatives held by the society - Made possible by grant 1991. These photographs taken of a train accident. The Afternoon Passenger Train - at the level crossing on the Warracknabeal - Stawell Road. There are 2 crossings on the road - This crossing is near the Wimmera River Rail Bridge. The cause of the accident - was a collision between a loaded Gravel truck and the passenger train. The Driver of the Truck was killed. 1231-2 B/w Photo of Train Smash near Glenorchy. This photo was donated from the estate of Mr Boothey in 2010, and is almost identical to one in 1231. This Photo is in album 4. B/W Photos of a Train Smash - 1231 The deisel Engine completely derailed off the rail line. 1231-1 showing the derailed rolling stock from another angle. Many onlookers. 1231-2 The Boogie is completely off the carriage 3 Photogrpahsstawell railways transport, glenochy -
Stawell Historical Society Inc
Photograph, Train Photographs
-1 K Class Seaby Street Crossing c.1960 -2 Melbourne bound X Class passing B Box Stawell 1985 -3 Arial View of picnic train Heatherlie Quarry 1929 -4 Stawell circa 1993 N Class Loco with N set passenger carriages. From left Kevin Neville, train conductor, Craig Pitcher & Trevor Skurrie -5 Horsham bound Goods train Glenorchy J Class -6 West bound goods train 1980's Great Western T Class -7 N Class Steam Hauling Short Goods Train Stawell -8 N Class from Grant St Bridge same as -7Eight Colour photographs of trainsrailways -
Stawell Historical Society Inc
Photograph, Stawell Railway Yards viewed from the Step Bridge 1950's -- 2 Photos
B/W Stawell railway yards. Taken from step bridge 1950's.stawell transport -
Darebin Parklands Association
Pollution in Darebin Creek 10th February 1976, 10/2/1976
B&W photograph. Below railway bridge.pollution -
Darebin Parklands Association
Rockbeare Park 1970s, 1973-1980
B&W photograph. Mulberry spur looking towards the railway bridge. -
Darebin Parklands Association
Pollution in Darebin Creek 10th February 1976, 1976
People often pushed cars and supermarket trolleys over the edge of the cliff at the end of Waverley Avenue.B&W photograph. Below Railway Bridge. -
Darebin Parklands Association
Houses bordering Rockbeare Park 1970s, Rockbeare Park Conservation Group, 1973-1980
Sidney Clifton was a mechanical engineer and a lecturer at Melbourne University. He built the house, which is still in the family. He was a foundation member and treasurer of Darebin Parklands Association. He designed Clifton Bridge in Darebin Parklands and built the wooden formwork for it in his living room in this house. It was built with volunteers and funded by a grant from Heidelberg and Northcote Councils. He was a foundation member and treasurer of Darebin Parklands Association.B&W photograph. Sidney Clifton's house is on the right.