From the publisher Thames & Hudson Australia's website: "In the bushy north-eastern fringe of Melbourne, an enduring, uniquely Australian architectural aesthetic has been quietly gaining recognition. Emerging out of necessity in the post-war years, it reimagined the sleek ideals of modernism through the lens of the local landscape. Simple homes built 'of the land' from mud bricks and recycled timber captured the mood of those searching for an alternative way of life close to nature. The movement gathered momentum in the counter-cultural 1960s and culminated in near-mainstream popularity in the 1970s. After a few decades where brown lost appeal in favour of white-washed minimalism, the style in all its warm, earthy glory is once again being embraced and revived by a new generation Through evocative photography by Sean Fennessy, personal stories and architectural insights, Bush Modern explores the timeless appeal of these character-filled homes: tactile, grounded and deeply in tune with their environment." Contents: Bush modern locations (map) Grounded in simplicity by Jessica Lillico and Sean Fennessy Time and place by Morag Fraser Houses featured - Stonygrad 1940, North Warrandyte Fraser-Jackson House 1947/1977, Montmorency Busst House 1948, Eltham Burstall House 1950, Montmorency Wright House II 1960, North Warrandyte Collis House 1966, Eltham Diskin House 1967, Eltham Redfern House 1967, North Warrandyte River Bend 1968/2022, Garambi Baan, Eltham Fisher House 1969, Warrandyte Borrack House 1970, Plenty Valley Fiddlers Elbow 1970, North Warrandyte Light Well House 1972, Donvale Birrarung House 1974, Garambi Baan, Eltham High Noon 1974, North Warrandyte Monty Sibbel 1975/2022, Montmorency Provan House 1976/2021, North Warrandyte Pizzey House 1977, Eltham Pittard House 1978, Eltham Gray House 1980, Eltham Carol Ann House 1989, Bend of Islands Wattle Glen 1999, Wattle Glen Big Hill 2001, Christmas Hills Inside front cover in ink: "Enjoy! Jess & Sean"stonygrad, fraser-jackson house, busst house, burstall house, wright house ii, collis house, diskin house, redfern house, river bend, fisher house, borrack house, fiddlers elbow, light well house, birrarung house, high noon, monty sibbel, provan house, pizzey house, pittard house, gray house, carol ann house, wattle glen, big hill

Sepia photograph on fawn board. Group of males at hall? Member of cricket team and supporters. Seated on trestles. Two men holding bats. Inscriptions: On front - hand written 'Strathfieldsaye C.C. 1st Eleven 1902-3', '1902-03' 'From Mrs Lowndes, Mc Ivor Road' written in ball point pen on back? Back row: from left, 'Joe Smith, W Grainger, J Hargreaves, W Kronk, A Lowndes, C Borrack, M Doody, Mat. Rundell,JP, WJ Lowndes'. Centre: 'J Straus, W Ryall; ?, GS Holten, T Lowndes. Front: 'T Burns, A Kronk'. The above names are hand written in ball point pen on the image and the board.JP Lind? Photographer, Melbourne (oval stamp on back)person, group, strathfieldsaye cricket club

Painted from the home (or front) paddock which ran south to the creek. The paddock was used for the cultivation of lucerne and maize crops in the lower regions while closer to the house where Ainwick Crescent is now situated, it was a burgeoning market garden for the cultivation of all varieties of vegetables. The large pines beyond, sheltered the farmyard on the west of Gardenia Road. That complex can be partly glimpsed on the left of the painting. This is a directly painted watercolour relying on the use of white paper and transparencies to impart a feeling of morning light. The figure is the artist's mother for whom the picture was painted. Provenance: Augusta Borrack (nee Ziebell) Collection, John Borrack CollectionThese two paintings by acclaimed Victorian artist John Borrack, a direct descendant of the Ziebell family through his mother Augusta, hold substantial artistic, historical, and familial significance for Ziebell’s Farmhouse Museum and the broader Westgarthtown narrative. Borrack, recognised as one of Australia’s leading landscape painters, is known for his sensitive, precise and atmospheric depictions of place. His professional standing and artistic skill considerably elevate the cultural value of these works. The paintings depict Ziebell’s Farmhouse and the associated outbuildings on the opposite side of Gardenia Road, capturing the rural character of the property prior to subdivision and suburban encroachment. They function as accurate visual records of the farm’s earlier setting and the self-sufficient lifestyle. Their documentary value is amplified by Borrack’s own reflections: he explained that he made the original sketches in the 1950s and later, in the 1970s, “decided to make a positive record of what the farm looked like”, developing these paintings from those earlier drawings. One work shows the farmhouse and milking shed as seen from the cemetery: the other captures the view from the front garden toward the former vegetable garden. Their provenance deepens their significance. As works created by a Ziebell descendant who consciously sought to record his family heritage, the paintings embody intergenerational memory, personal connection, and the enduring legacy of the Ziebell family within Victoria’s cultural landscape. They enrich the museum’s interpretive capacity, offering rare artistic insight into the historic farmstead and contributing meaningfully to the preservation and understanding of Westgarthtown’s heritage. Watercolour painting, depicting Ziebell's Farmhouse from the south (Thomastown and Mernda). Painting is mounted in a gold frame with cream board.Artist signature: John Borrack; Last Days at Ziebells "The Pines" Thomastown, 'Pro mea matre hanc picturan feci (In Memoria)'illustrations, watercolours, john borrack, ziebell, watercolour, painting