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

A sepia photograph of two men and three children standing near a horse drawn dray loaded with hay.written on back: Load of Hay 1920 / Diggers Resthay bales, harvesting, diggers rest, cullinan, uraina, eileen, bayview farm, horse drawn vehicles, 1920s, george evans collection

A black and white photograph of a group of men working a threshing machine and building a haystack during hay making in 1922.cullinan, uraina, eileen, bayview farm, diggers rest, harvesting, haystacks, machinery, agricultural machinery, farm and garden equipment, hay bales, 1920s, george evans collection

A black and white photograph of four men gathering hay to make hay stooks in a paddock.on back: STOOKING / DIGGERS RESTcullinan, uraina, eileen, bayview farm, diggers rest, harvesting, hay bales, horse drawn vehicles, george evans collection

A sepia photograph of a haystack being built with a bale elevator at the side and a hay cart at the end at Bayview Farm.on back in ink: HAYSTACK AT 'BAYVIEW'/ABOUT 1934 / 60' (feet) long, 20' (feet) high, 25' (feet) wide / ELEVATOR APPROX 25' (feet) long / 70-100 tons of hay / "Bayview" / 111 DAVIS ROAD / DIGGERS REST 3427cullinan, uraina, eileen, chris, bayview farm, diggers rest, farms, farming, clothing and dress, harvesting, haystacks, george evans collection

A black and white photograph of thirty-one children taken at the Diggers Rest State School on 18 August 1924. There are seventeen boys and fourteen girls. Two girls are Eileen and Uraina Cullinan of Bayview Farm.on back in ink: E & U CULLINANcullinan, uraina, eileen, chris, bayview farm, diggers rest, farms, farming, clothing and dress, harvesting, schools, diggers rest state school, haystacks, george evans collection

A black and white photograph of a group of school children and their teacher taken at the Diggers Rest State School No.2479. Eileen and Uraina Cullinan are amongst this group but not identified.on back in ink: E & U CULLINANcullinan, uraina, eileen, chris, bayview farm, diggers rest, farms, farming, clothing and dress, harvesting, schools, diggers rest state school, education, george evans collection

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

Black & white photographnillumbik, diamond creek, farming, agriculture, 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

Used by donor in 'Blackburn - a picturesque history'Black & white photo of men picking flowers at Adult Deaf Society Flower Farm. Page 29.daffodils, mclellan, archie, nelson, t, swain, p, buse, s, abraham, e. d. j., hull, a., adult deaf and dumb society

Black and white photograph of a threshing team at workagriculture, farming, harvest, steam tractor, wheat harvest, threshing

Coloured postcard photograph showing four men digging potatoes in a field.harvest, agriculture, potatoes

Coloured postcard photograph showing four men digging potatoes in a field.Printed on back of card: "Published by F. Harrison, Rutherglen"harvest, agriculture, potatoes

This is a photo of one of the first upright machine grape harvesters operating in the Rutherglen area. It was operating in the B Seppelt & sons Distillery Road vineyards on the edge of the Murray River in Wahgunyah. Riding on the top of the machine are from left to right Mandy Jones (partly obscured), Rolly Guscot (vineyard manager), machine driver, Doug Jones (manager) and Leanne Schoen (nee Jones). Mandy Jones and Leanne Schoen being the daughters of Doug JonesBlack and white photograph of several people riding on top of a machine operating in a vineyard. On left hand side is Leanne Jones , her father Doug Jones ( Manager of Seppelts) The photograph was taken in the flats vineyard ( now Pfeiffer vineyard) It was reputably the first mechanical grape harvester in the areaOn back of photo: "170% [upper case D in small circle] Seppelt's"wineries, north east victoria, wine industry, mechanical harvester, grape harvest, seppelts winery, rutherglen, doug jones

Black and white photograph of two women standing in front of horses and cart. Cart loaded with bins of grapes.wineries, north east victoria, wine industry, grape harvest, grape picking