Rural City of Wangaratta Collection. Gift of the Wangaratta Y's Men's Club.A river landscape painted with oils in shades of green, blue, brown, and grey.Obverse: MARY WATSON/ (bottom right corner) WINNER - PAIR SMALL PAINTINGS/ 1988 WANGARATTA ART SHOW/ Presented By WANGARATTA Y'S MEN'S CLUB/ (plaque mounted on frame)wangaratta art gallery, mary watson, landscape, painting, ovens river

I conceive my work as unfinished fragments of memory and childhood rituals, and through the art making process, I build and then peel back the layers of these memories and early influences, to reveal my personal dreamscape. Through the fusion of colour, texture, mark making and rubbing back, my intuitive rendering of the media creates layers that like memories, can be stacked up, hidden, peeled away, rubbed out, etched back in, and the process of layering and building up of a tactile textured surface, reflects memory itself; with its elusiveness and hard to grasp impressions that are more like ingrained watermarks. As I work, layering the surface then taking it back; rebuilding, adding marks and burnishing back, I feel into the textures, and through this tactile rendering I often discover something unintended and the end result is not quite how I perceived it in the planning. Perhaps something of a happy accident, which again reflects the arbitrariness of memory. I see my artworks less as paintings, but assemblages, with the layering technique creating a sculptural effect that reflects my great interest in the landscape and its beautiful and varied colours, shapes and textures. Part of my process is to take long drives into the country where I grew up, photographing along the way, to create a visual documentary that then informs my practice. The wide paddocks of the Victorian wheatbelt, beneath the endless blue of the horizon evokes very early memories so that a singular Bullock, a fencepost, a hay roll or corrugated iron wall, is so uniquely resonant to me, I am compelled to create this in my work. My connection to the land, to farming practices; the poplars, oaks and elm trees of my childhood holidays, is a mindscape that I return to again and again as I try to recreate that early sense of wonder, love and familiarity, grief and joy, that forms my unique vision. Veronica DRUM (1967 - ) Born Donald, Victoria A student at Federation University Arts Academy from 2015 until 2019, Veronica Drum is committed to establishing regular studio practice. Veronica Drum made this work in the final studio semester of the Bachelor of Visual Arts at the Federation University Arts .Academy.Framed Mixed media artwork depicting the Ovens Rivers, Victoria. Artists' Statement: Through the fusion of colours, textures, mark-making and a 'rubbing back' process, my intuitive rendering of the chosen media creates layers in my artwork that reflect and build upon cherished childhood memories. This work won the 2019 Federation University DVC 2D Art Acquisition Award.veronica drum, mixed media, alumni, oven river, dvc art acquisition award, trees, landscape, treescape

This plaque was unveiled on 23 April 1915 to commemorate early colonial explorers, Major Mitchell and before him, Hume and Hovell. These explorers crossed the Ovens River in 1824 and 1836. The plaque has now been replaced by a tablet. This photograph and other postcards and photographs came from the estate of David Moyle (1938-2015) who was a police officer in Emerald during late 1960s-early 1970s, and subsequently at Belgrave in the early 1980s. David Moyle was closely associated with the now defunct Sherbrooke Historical Association. This photograph is significant because it recalls the early history of Victorian colonial exploration and settlement and is emblematic of the importance placed by the local community on Major Mitchell's and Hume and Hovell's explorations. Also, this photograph is part of a collection belonging to a community member who had a close association with a local historical society.Photograph of plaque on tree commemorating Major Mitchell's crossing of the Ovens River (1836) in the footsteps of Hume and Hovell (1824). david moyle, police, emerald, belgrave, major mitchell, hume and hovell, ovens river, plaque

The photo shows "William Clarke" who owned and operated the first commercial Punt across the Ovens River during the goldrush daysthe photograph shows "William Clarke" who was one of the first pioneers of the township of Wangaratta as it is now known. He also built one of the first hotels in Wangaratta.Brown wooden framed photograph, greyish background with silver surround around photo of William Clarke, one of Wangaratta's foundation pioneers. The wood is from the first punt. He was the owner of the first punt to cross the Ovens river, which he had built for 500 pounds. It was sunk in 1855 after the first bridge across the Ovens river was built.William Clarke1 1839 Wangaratta William Clarke 11 William Clarke 111(my father) Nell Clarke 1884-1965 William Clarke 1 Pioneer of Wangaratta Vic. 1839 This frame is made of oak from the punt he operated over the Ovens River during the goldrush days to Beechworthclarke family, punt, sydney hotel

Red gum shield was made from a piece of the Ovens River punt which served as a river crossing at the Sydney Hotel two centuries ago and which had lain on the river bed for approximately 100 years. The punt was raised by members of the Royal Australian Engineers whose names, unit and badge apear on the shield in the early 1970s.Red gum shield was made from a piece of the Ovens River punt which served as a river crossing at the Sydney Hotel two centuries ago and which had lain on the river bed for approximately 100 years. The punt was raised by members of the Royal Australian Engineers whose names, unit and badge appear on the shield in the early 1970s. In 2019, after nearly 70 years at Balcke House, the Wangaratta RSL Sub Branch will take up new residence at the Sydney Hotel.Red Gum timber in shape of shield with crest and plaque.Crown of Australian Engineers above a list of the soldiers who worked on the project. Attached is a card which states :- This red gum shield was made from a piece of the Ovens River punt which served as a river crossing at the Sydney Hotel two centuries ago and which had lain on the river bed for approximately 100 years. The punt was raised by members of the Royal Australian Engineers whose names, unit and badge appear on the shield in the early 1970s. It was made and presented to the Wangaratta RSL by Jim Sloan of Wangaratta.ovens river, sydney hotel wangaratta

Dinner was held at the Victoria Hotel, Rutherglen. The Shire President was Cr. S.G. Williams, J.P.Small card folder, with menu and toast list"Complimentary Dinner to the Country Roads Board tendered by the Shire President on the occasion of the opening of the Ovens River Bridge on 24th June, 1937"country roads board, ovens river bridge, opening celebration

Seven postcards, all but two are depicting theatre actresses : (a) Miss Gabrielle Ray , (b) Miss Madge Lessing , (c) Miss Gabrielle ray , (d) Miss Julia Marlowe , (e) Nina Sevening , (f) Myers Falls Healesville , (g) Gold sluicing on the Ovens River near Germantown.postcard, various themes, gabrielle ray, madge lessing, julia marlowe, nina sevening, myers falls healesville, gold sluicing, ovens river, germantown

Printed colour map on paperwangaratta, broken river, ovens river, benalla, euroa

This series presents 28 years of Thomas' journals, transcribed and annotated by Dr Marguerita Stephens (Vols 1-3). Vol 4 provides a substantial collection of Thomas' records of Kulin language - some reworked from earlier transcriptions by Dr Stephen Morey. For nearly three decades William Thomas chronicled his life and work with Aboriginal Victorians through his daily journal entries. Now this four volume set, comprehensively indexed and extensively annotated, shines new light on the history of race relations in Australia. Thomas' detailed observations give a rare insight into the process of cultural continuity and collapse, and the agency of Victorian Aboriginal leaders in social and economic interactions with settlers and colonial administrations in a time of great social upheaval. This first-hand account repopulates Victorian history, paying respect to the work, play and lives of the Aboriginal men and women who emerge from the pages of Thomas' journal.document reproductions, b&w illustrationswurundjeri, woiwurrung, woi wurrung, yarra, waverong, wavarong, waborong, warwarong, warworong, waworong, wa woo rong, wouvarong, wavorong, port phillip, boon wurrung, mount macedon, bacchus marsh, backhouse marsh, boonurrong, boonurong, boonmerong, bonwarong, boomerong, boonvarong, boonerong, bunurong, boonrong, boonworng, boonurong, boonwrung, boonurgs, taungurung, goulbourn, tongorong, devils river tribe, wathaurong, wadawurrung, barrabool, barabool, wattowrong, william thomas, geelong, ballarat, mount buninyong, booningong, leigh river tribe, dja dja wurrung, avoca, loddon river, bangerang, pangerang, pangeran, pangarran, pangarans, parngarangs, ovens river tribe, broken river tribe, gunai kurnai, omeo, monaro

This series presents 28 years of Thomas' journals, transcribed and annotated by Dr Marguerita Stephens (Vols 1-3). Vol 4 provides a substantial collection of Thomas' records of Kulin language - some reworked from earlier transcriptions by Dr Stephen Morey. For nearly three decades William Thomas chronicled his life and work with Aboriginal Victorians through his daily journal entries. Now this four volume set, comprehensively indexed and extensively annotated, shines new light on the history of race relations in Australia. Thomas' detailed observations give a rare insight into the process of cultural continuity and collapse, and the agency of Victorian Aboriginal leaders in social and economic interactions with settlers and colonial administrations in a time of great social upheaval. This first-hand account repopulates Victorian history, paying respect to the work, play and lives of the Aboriginal men and women who emerge from the pages of Thomas' journal.document reproductionswurundjeri, woiwurrung, woi wurrung, yarra, waverong, wavarong, waborong, warwarong, warworong, waworong, wa woo rong, wouvarong, wavorong, port phillip, boon wurrung, mount macedon, bacchus marsh, backhouse marsh, boonurrong, boonurong, boonmerong, bonwarong, boomerong, boonvarong, boonerong, bunurong, boonrong, boonworng, boonurong, boonwrung, boonurgs, taungurung, goulbourn, tongorong, devils river tribe, wathaurong, wadawurrung, barrabool, barabool, wattowrong, william thomas, geelong, ballarat, mount buninyong, booningong, leigh river tribe, dja dja wurrung, avoca, loddon river, bangerang, pangerang, pangeran, pangarran, pangarans, parngarangs, ovens river tribe, broken river tribe, gunai kurnai, omeo, monaro

Annotation. This series presents 28 years of Thomas' journals, transcribed and annotated by Dr Marguerita Stephens (Vols 1-3). Vol 4 provides a substantial collection of Thomas' records of Kulin language - some reworked from earlier transcriptions by Dr Stephen Morey. For nearly three decades William Thomas chronicled his life and work with Aboriginal Victorians through his daily journal entries. Now this four volume set, comprehensively indexed and extensively annotated, shines new light on the history of race relations in Australia. Thomas' detailed observations give a rare insight into the process of cultural continuity and collapse, and the agency of Victorian Aboriginal leaders in social and economic interactions with settlers and colonial administrations in a time of great social upheaval. This first-hand account repopulates Victorian history, paying respect to the work, play and lives of the Aboriginal men and women who emerge from the pages of Thomas' journal.document reproductionswurundjeri, woiwurrung, woi wurrung, yarra, waverong, wavarong, waborong, warwarong, warworong, waworong, wa woo rong, wouvarong, wavorong, port phillip, boon wurrung, mount macedon, bacchus marsh, backhouse marsh, boonurrong, boonurong, boonmerong, bonwarong, boomerong, boonvarong, boonerong, bunurong, boonrong, boonworng, boonurong, boonwrung, boonurgs, taungurung, goulbourn, tongorong, devils river tribe, wathaurong, wadawurrung, barrabool, barabool, wattowrong, william thomas, geelong, ballarat, mount buninyong, booningong, leigh river tribe, dja dja wurrung, avoca, loddon river, bangerang, pangerang, pangeran, pangarran, pangarans, parngarangs, ovens river tribe, broken river tribe, gunai kurnai, omeo, monaro

non-fictionA biographical dictionary of key pioneers and identities in the Ovens and Beechworth area of Victoriapioneers victoria, pioneers beechworth, pioneers ovens river

Diggers & Mining. The Digging - The Diggers. Slide depicts: Murrey River, Kiewa River, Ovens River, King River. The Ovens Field consisted of widely separated diggings, discovered and worked at intervals during the gold rush. Markings: 23 994.LIF:6. Used as a teaching aid.hanimounteducation, tertiary, goldfields

Units conducted Adventure Training to build team values.Black and white photograph of soldiers on a raft made of jerry cans engaged in Adventure Training on Ovens River, December 1976.Sodiers from Administrative Troop 8/13Victorian Mounted Rifles..Adventure Training, S/Sgt. M.Miles,Lt Shefford, Sgt S. Berg, Major I Docking, Pte H Delaney, Pte M Clarke"

Coloured photographic postcard with a 2cm white border on right hand side depicting gold digging on the Ovens River. Aspect is taken from behind a waterwheel with a man standing on a platform looking over the river. The banks are thickly treed and mountains can be seen in the distance. The words Gold Digging on the Ovens River are printed in red on the margin and handwritten in black are the words Have you this PC? Returning home on Tuesday Father is much better L.C. On the reverse card is addressed to Miss R Dean 'Esmond" Golden Square Bendigo.44140postcard

This is one of the maps drawn by Frank L. Frost while he was beekeeping in North-East Victoria. This particular map may be reference in the "Wooden" Diary on page 8.Hand-drawn map centred on Myrtleford, Palmerston, Gapstead Road, the Ovens River and the Myrtleford-Wangaratta Road. Shows locations of flowering eucalypts. Scale is 1 mile to 1 inch. Drawn with black pen and grey lead on paper. Names of towns are marked in red pen. hand drawn, hand-drawn, map, myrtleford, palmerston, gapstead, ovens, beekeeping, frost, beechworth honey

Wangaratta Toll Gates were erected after the punt was sunk and the new bridge over the Ovens river was opened in 1855; a charge was made for people, animals, carts, cars and buses and trucks later on. A gatehouse keeper lived in a residence near the gates to charge users when they crossed. The gates were refurbished by the students at the local GOTAFE college and are being rehoused as a feature of the river beautification works along the Ovens River.The Toll Gates were on the first (and only bridge at the time) that crossed near the junction of the Ovens & King rivers at Wangaratta in the mid 1800's. They are a vital part of the city's heritage.Two white timber gates, hung on white timber posts by metal hinges. wangaratta toll gates

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘View on the upper Buckland River’ : Views of Victoria (General Series) No.46 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The Buckland River is situated near the western extremity of the Australian Alps, and forms one of the sources of the Ovens River. Its watercourse is very shallow, except in flood time. Our illustration is taken on the upper portion of the River, near Reeve’s dam.’nicholas caire (1837-1918), buckland river (vic), landscape photography - victoria

Sepia Toned Photograph, gold sluicing on the Ovens River near Germantown) Showing a man standing on a water wheel looking over a water course flanked by trees & shrubbery with mountains in the background. Markings on rear Photo read 'N.J. Caire Landscape Photographer 4 Darling Street South Yarra Victoria'N.J. Cairephotograph, water wheel landscape, water wheel, mining

Photograph taken of 2nd Platoon on the banks of the Ovens River, Wangaratta. After completing training at Wangaratta they marched to the railway station headed by the Town Band prior to travelling to Broadmeadows Army Camp.Reproduction of black and white photograph of soldiers standing in two rows along riverbank lined with trees. There is a small white dog in foreground. Wangaratta's 2nd Platoon of Australia's New Army March 19161916, second platoon, wangaratta, ww1

Every year, Galen Catholic College's Year 8 students attended a school camp at Harrietville. These two photographs show students being taught how to pan for gold in the Ovens River near Harrietville.galen catholic college, galen college, year 8, camp, harrietville, gold panning, 2008

This item consists of two pages. Page One: Hand-written copy of a Particulars and Conditions of Sale of Land for a piece of land in Moira county (East of Goulburn River, South of Murray River, West of Ovens River). Also inculded is a hand-written copy of a Particulars and Conditions of a Contract of Sale; Frank L. Frost is selling land to Bridget Ellen Ryan. Takes place in May 1922. Copy of Transfer of Land Title. Purchase price £478.11.3 Page Two: A list of Parish, Shire and County locations. Both pages written with black ink on paper. hand written, hand-written, particulars, conditions, sale, land, title, parish, shire, county, ryan, frost, beekeeper, beechworth honey

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.‘Scene near the Buffalo Mountains’ : Views of Victoria (General Series) No.41 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘This scene is taken from the banks of the Buckland River, which is about five miles distant from the Buffalo Mountains, as seen in the distance. These mountains are frequently covered with snow, in consequence of their great altitude. The Buckland River is a small tributary of the Ovens River, which flows through the Beechworth district, and eventually finds its way to the River Murray. The Bridge which is seen on the right of the picture forms the roadway which leads from the Buckland Camp to the Township of Bright.’nicholas caire (1837-1918), landscape photography

This wood is made from Red River Gum tree wood, these trees live for between 500 to 1,000 years of age. The wood in this bowl has been carbon dated in the USA to be 4,500 years old.This bowl is significant because of the age of the wood it is made from. 000016 Wooden Fruit Bowl The timber this fruit bowl was made from was a red gum tree taken from the Ovens river at Tarrawingee (12 km from Wangaratta)where it had been submerged for years. It was made on a lathe by Ken Hill. The bowl warped and cracked shortly after being turned. A piece of the wood was taken to the USA by a visitor where it was carbon dated to be 4500 years old Measurements: Diameter: 22cm Height: 6cm Colour: Dark red brown Photographed beside a piece of natural red gum Tarrawingee is 12 Km North East of Wangaratta on the Great Alpine Road Significance: 4500 year old red gum wood is rare in this area. red river gum wooden bowl wangaratta historical society

This certificate, drawn in a very elegant hand, contains the biographical information of Wilfred Busse. It is assumed to be a funeral or memorial card. Born in Chiltern in 1898, Wilfred Clarence Busse was educted at Wesley College and then the University of Melbourne. He became a barrister and through his time at the University of Melbourne studied with future Chief Justice and Governor of Victoria Sir Henry Arthur Winneke (1908–1985), as well as spending time in the chanbers of Sir Leo Finn Bernard Cussen (1859-1933), who was a judge of the Supreme Court of Victoria. Busse also wrote two novels, 'The Blue Beyond' and 'The Golden Plague'. In 1931, 'The Golden Plague' was awarded the T. E. Rofe gold medal by the Henry Lawson Literary Society for its ''its vivid scenes of the Ovens River [gold] rushes, in the early [eighteen] fifties".Ivory rectangular certificate with rounded corners made of thick paper with inked writing and two small photographs mountedObverse: Wilfred Clarence Busse/ 1898 – 1960 / Barrister and Author / Born in Chiltern. Educated at Melbourne / University. Studied Law with former Governor / of Victoria Sir Henry Winneke. In 1928 / published his first novel, “The Blue Beyond”. / In 1930 published “The Golden Plague” for / Which he was awarded the Henry Lawson / Literary Society’s Gold Medal. / Wilfred Busse was a member of the Chiltern / Athenaeum. He valued the historical works / In the library. / wilfred busse, wilfred clarence busse, wilfred c. busse, busse, w.c. busse, "the golden plague: a romance of the early fifties.", "the blue beyond, henry lawson society, chiltern, chiltern athenaeum, chiltern athenaeum museum, sir henry arthur winneke, sir leo finn bernard cussen, funeral card, memorial card

The Wangaratta Historical Society Inc. (WHS) was established in 1959 and moved into its present home in the 1970s. Wangaratta in North East Victoria has a population of over 27 thousand people and is situated at the junction of the King and the Ovens Rivers. Agriculture has always been a big part of its history as well as education, health and manufacturing. The museum was originally a fire station built 1895 and included living quarters for its staff. The building is owned by the Rural City of Wangaratta who are great supporters of the WHS The museum was bequeathed 10,000 glass negatives from the late 1800s to the 1950s these were by the Vine & Thelma studios of mostly, portraits, weddings and historical photos. Also owned by the WHS is the Maianne Gibson crazy patchwork quilt made by a Wangaratta woman in the 1890s and now Heritage listed. This Quilt is housed in an specially controlled conditions. The Wangaratta Historical Society Museum was accredited in 2012 under the Museums Accreditation Program.