Published book (processed, comb bound) "The Beet Sugar Industry 1894 to 1948"sugarbeet, harvesting methods, maffra

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series documents the Working Horse and Garden show held in 2001.Photograph of a display of apples and pumpkins arranged in two rows resting on bales of hay. The apples are stored in wooden crates while the pumpkins are displayed loose.Catalogue number written on reverse in pencil.churchill island, harvest festival, photograph, apple, pumpkin

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series documents the Working Horse and Garden show held in 2001.Photograph of a display of pumpkins and vegetables arranged around an old wagon.Catalogue number written on reverse in pencil.churchill island, harvest festival, photograph, apple, pumpkin

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series documents the Working Horse and Garden show held in 2001.Photograph of a display of pumpkins and vegetables arranged around an old wagon with people walking beside it.Catalogue number written on reverse in pencil.churchill island, harvest festival, photograph, apple, pumpkin

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series documents the Working Horse and Garden show held in 2001.Photograph of a entrance sign reading 'the Digger's Club' and a display of pumpkins with a market festival in the background.Catalogue number written on reverse in pencil.churchill island, harvest festival, photograph, pumpkin, diggers club

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series documents the Working Horse and Garden show held in 2001.Photograph of a rear view of a pumpkin and apple display showing a wagon, garlic and an assortment of hay bales with market stalls visible in the background.Catalogue number written on reverse in pencil.churchill island, harvest festival, photograph, pumpkin

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series documents the Working Horse and Garden show held in 2001.Photograph of a foreshortened view of a pumpkin and apple display showing a wagon, garlic and an assortment of hay bales with a marquee and stalls visible in the backgroundCatalogue number written on reverse in pencil.churchill island, harvest festival, photograph, pumpkin

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series documents the Working Horse and Garden show held in 2001.Photograph of a seated woman tying a knot with a boy standing beside and watching her.Catalogue number written on reverse in pencil.churchill island, harvest festival, photograph

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series documents the Working Horse and Garden show held in 2001.Photograph of a seated woman watching and assisting a boy tying a knotCatalogue number written on reverse in pencil.churchill island, harvest festival, photograph

The most complete account yet of Australia's longest war.vietnamese conflict , 1961-1975 - australia, 1961-1975 - protest movements - australia, australian servicemen

Purchased through the Horsham Art Gallery Trust Fund with the assistance of the Caltex-Victorian Government Art Fund, 1983 Cibachrome photograph

Horse-drawn harvester at Lake Bolac, circa 1930's. Oats are cut and the sheaves are bound by the machine. The sheaves are then stooked before being carted to the stacks. Vic Moreton is on the seat of the binder with Ernie Brown carrying a sheaf.lake bolac, oat harvest, moreton, brown

The foundation stone of the present church was laid by the Hon James Balfour on 15 June 1875. Mr Charles Webb was the architect, the builder Mr James Bonham . The opening services were held of 2 December 1875.B&W matt photograph mounted on card of the interior of the Brighton Congregational Church hall c.1900. The image shows tables, chairs and flags arranged inside the hall.harvest festival, brighton congregational church hall

Hardcover W/ Dust Jacketaustralian nature, natural history, australia, indigenous knowledge, environment, walsh st library

Black powder splitting guns were commonly used to split large logs into more manageable pieces before the advent of excavators and front-end loaders in bush logging operations. A typical splitting gun used in Victorian forests was a piece of high-grade steel about 1-1/2 to 2 inches in diameter and about 16 inches long, and slightly tapered at one end. They had a ¾ inch hole drilled about 9 inches deep into the centre of the shaft with a small pilot hole drilled from the outside to load the fuse. The tube was carefully loaded with an amount of black gunpowder using a funnel and spoon. Experience being the guide on how much powder to use, which depended on log size, species and difficulty of splitting the wood. The hole was stopped with a piece of wadded paper and the gun positioned at the end of a length of the log to be split. The splitting gun was then belted into the log with a large wooden maul or even the back of an axe to a depth of about 3 to 4 inches. There were often markings as a guide. This also had the effect of tamping the black powder inside the gun. Preferably the gun was backed up by another large log to absorb the shock and avoid it flying off in the bush somewhere. I have seen guns where a length of string and coloured flag could be attached to help find them. A length of fuse was then inserted in the small hole and lit. Kaboom !!!! Needless to say, the splitting gun was a dangerous implement.Commonly used to split pulpwood but now rareBlack Powder Splitting GunFive marking rings used to guide how far the gun was in the logforest harvesting

Continuous cutting chain was patented in 1905 by Samuel Bens of San Francisco, while the first portable chainsaw was developed and patented in 1918 by Canadian millwright James Shand. But the main advancements of modern petrol chainsaws occurred in Europe in the 1920s and 30s where Andreas Stihl is often hailed as the "father of the chainsaw" After the second world war lighter materials, metal alloys and improved engine designs revolutionised the logging and timber industry. Of interest on this model is the spacing of the teeth compared to modern machines. With a 4HP motor it has few safety features and is very heavyEarly model chainsawBurns ChainsawModel 106forest harvesting

found amongst the tools at Kurth Kiln Part of wood harvesting machineryChisel shaped tool for a machine with a 3.5cm hole at one end. 3cm thick and 6cm wide at the thick end. Could be part of a slasher or hammermillrural industries

The (logging) truck carries a representation of John Glover’s painted landscapes, which Cox has painted on a solid block of wood. John Glover is one of Australia’s most celebrated colonial landscape painters. Born in England, he was a highly successful water-colourist and painter of landscapes in the tradition of French artist Claude Lorrain. Arriving in Australia in 1831, Glover adapted his picturesque style and luminous technique to his new surrounds, creating naturalistic and atmospheric paintings of Australian nature, settler life, and Aboriginal culture. Working out of doors, Glover developed an understanding of the unfamiliar Australian landscape, especially the twisting forms of native eucalyptus trees. His direct experience of nature, as both pioneer settler and painter, resulted in a new approach using a subtle palette of olive greens, ochres, misty greys and intense blues, and layered glazes of mauve, grey and gold, to portray Australian light and atmosphere. Dale Cox continues the ongoing preoccupation and tradition of landscape painting in the Nillumbik area and our impact on the environment in a contemporary way. The truck creates a playful nexus between painting (representational landscape) and sculpture, purposely bluring boundaries across these traditionally distinct disciplines. ‘Ghost’ seeks to convey the idea that when we remove something significant from a location, like the landscape itself, the remaining ‘place’ changes to become a new ‘place’. This may seem self-evident until we think more deeply about location and landscape. The white truck is a ghost, an ethereal, transient being that spirits away an entire place, forever removed from itself, and forever changed. Logging wild trees can never be like harvesting a ‘crop’. Logging removes a landscape, and changes a place forever. The ‘packaging’ of this painted landscape highlights the anomaly between commodity and our environment. Dale Cox was a local artist and this work was highly commended at the 2012 Nillumbik Prize. White plastic toy (logging) truck with a landscape painting on a wooden block. The landscape painting is reminiscent of paintings by colonial artist John Glover. N/Alandscape, truck, sculpture, environment, john glover, colonial, painting, ghost, nillumbik prize

Nillumbik Prize finalist (2018, 2016, 2015, 2014). The artist lives and works in Nillumbik. Abstract sculpture inspired by the artist attending a local ceremony in Nillumbik to harvest tubers of the Murnong (yam daisy), a traditional staple of the Wurundjeri people. Wirth was also inspired by the writing of Bruce Pascoe. Wirth works intuitively with awareness that meaning may be deciphered through the combination of material/mediums/techniques that she uses randomly. Through the process of experimentation and automatism Wirth allows her work to evolve organically. Wirth is represented in public art collections including: Victorian College of the Arts, Victorian Performing Arts Centre and Ararat Regional Gallery. She also completed a residency at Laughing Waters in 2012. Yellow abstract sculpture woven into a vessel with long tentacles using cotton yarn. N/Afinalist, nillumbik prize, abstract, textile, yellow, vessel, yam