1910 photograph of Nobles Swamp Aireys Inletnobles swamp, aireys inlet

Photo taken from near Stirling Street of the decorated road at Lorne for the arrival of the first three cars into Lorne from Aireys Inlet December 1921. g.o.r. lorne: aireys inlet: 1st cars arriving. stirling street.

Hilly coastal view with ocean and hills in the background

aireys inlet, aireys, rebirth, bush fire, vegetation, tree, max sherlock

Folder of 9 photographs of Anglesea and Great Ocean Road. 5 in colour and 4 black and white with provision for note to be written if posted and description of location of Anglesea and amenities and attractions to be found there.ANGLESEA & Great Ocean Road, VIC / SOUVENIR VIEWSanglesea, aireys inlet, great ocean road, postcards

Dictionary with text in English and Wathawoorroong dialect.maps, b&w photographs, word listswathawoorroong, wathaurong, wathawurrung, wathaurong aboriginal co operative, kulin nation, aireys inlet, colac, ballarat, werribee, geelong, dictionaries, language map, victorian aboriginal corporation for languages, language reclamation, endangered languages, william buckley, francis tuckfield, william thomas, george augustus robinson, frances sievwright, barry blake, stephen morey

Photograph showing overview of Stony Creek construction campsite on the Airey's Inlet side of Lorne. This site later moved to Grassy Creek.g.o.r; construction camp site; tents; c.r.b.; grassy creek;

Photo of the Grassy Creek C.R.B site looking towards Aireys Inlet. Top left hand corner - the first tents were the gangers next were the mine and the third the timekeepers. The camp site is in the valleyg.o.r.; c.r.b. construction camp sites; gangers; mine; timekeeper; grassy creek;

The large landscape of Airey’s Inlet was painted by the renowned Australian artist Charles Bush. It is a view of Airey’s Inlet, a small seaside town on the Great Ocean Road, about 120km southwest of Melbourne. Airey’s Inlet is one of the oldest settlements on this part of the Victorian coast. It derives its name from John Airey, who took up a pastoral lease at Point Roadknight, slightly to the east, in 1839. The landscape is painted in oil on board. The view depicted looks over the inlet and Painkalac Creek towards the Split Point lighthouse, built in 1891. There is a yacht sailing on the inlet, and figures on the path in the middle distance. In the left foreground is a painter at an easel, probably Bush’s longtime companion and fellow artist Phyl Waterhouse. The picture is framed, and measures 105 x 136cm overall. It was probably painted in the early 1950s. A brass plaque attached to the frame records that it is the gift of W.E.A. Hughes-Jones, a member of the Court of Examiners from 1952 to 1962. Artist Charles Bush (1919-1989) was born in the inner Melbourne suburb of Fitzroy on 23 November 1919. After attending high school in Coburg, he entered the National Gallery of Victoria art school in 1934 and studied under W.B. McInnes. He enlisted in 1940, and was appointed an official war artist from 1943 to 1946. In 1950 he won a British Council travel grant which enabled him to go on a study tour of Great Britain and Europe. A versatile and gifted artist, he won many prizes and awards throughout his career. He was equally at home in many genres of painting and drawing, but he excelled at portraits and landscapes. He died in Melbourne in November 1989.ARTISTS SIGNATURE BOTTOM RIGHT "BUSH"airey’s inlet, charles bush, w.e.a. hughes-jones

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.

In the years of Allan Doney’s photography, landmark buildings succumbed to fire, neglect and redevelopment. He photographed the grey sand hills from Bendigo’s mining past, the streetscapes, poppet heads, miners’ cottages, gracious homes with ornate verandahs, trams and much more. Above all, his photographs show how much of the city has survived from the 19th century – and how much has not. Through two decades of great change, Allan Doney was there to capture ways people interacted with it. Although he travelled to many other places in Northern Victoria and beyond in search of subjects for his art, he seemed to always return to Bendigo for inspiration.