Gift of Geoff and Helen Handbury, 2001

Gift of Geoff and Helen Handbury, 2001

Rural Council of Wangaratta Collection - Gift of the artist 1989A bush landscape painted in oil using shades of brown, blue, yellow, and green.Obverse: J. Colin Angus/ 88/ (bottom left corner)wangaratta art gallery, j colin angus, john colin angus, painting, landscape

Always wanting to paint the bushfire. Seen heaps of things with burning of heath land for Alcoa and went running through it like we were in the fire. It was beautiful but we were crying as we didn’t want them to do it. We were right in the middle of it as it was all glowing everywhere. Always fascinated by that fire when I think about it as we tried to stop it but they bought the police out and we couldn’t get in there as they had security and we were surrounded. We camped out there for four years we had the camp and would come and go from the house in town. Zac Martin and heaps of people in and out and good times with Uncle Banjo and newspaper journalists. 30 years ago this was, late 70’s and took 6 years to get them to court. Flew a guy out from America (the equaliser) who interviewed us about why we were doing it. They burnt right along the cliff whilst we were camped there and we had seen the seasons and got into the spirit of the land with native blossom and it was beautiful – and they burnt it all, all the little animals, it was incredible as the heathland was absolutely beautiful, it was magic and they could not see that. They pegged it out to do it all and we would sneak out and move the pegs and we tried to fight them every which way. Amy was there with all her kids in a massive striped tent but she moved them out when the police came to move us out. They had us surrounded, police from everywhere. We had no water and people would bring us water and food. Another time a big bushfire came through and we had to get in the dam at Lake Condah Mission. I was aged around 10 or 11.” June 2014 As recorded by Anna Louise Sheba for the entry in the Victorian Indigenous Arts Award Ballarat. Ms. Christina Isabel Saunders Traditional Landowner Elder Gundij Mara Tribe (South Western Victoria, Australia) Descendant of Kilcarer – Cape Bridgewater Clan and Gilgar - Lake Condah Mission Clan A depiction of bushfire. Red, yellow, orange and black paint. Swirls and shapes to represent the flames.Tina Saunders (bottom right in orange paint)aboriginal art, first nations, bushfire, bush, landscape

CEMA Art Collection Previously located in History HouseThe painting illustrates a bush scene with a large gum tree in the foreground. To the left of the tree is a sunny track with long shadows formed by surrounding trees. On the track heading towards the viewer is a covered wagon drawn by a white horse. Behind the wagon is dense bush with tall trees and thick shrubs. Extending from the trees is a band of white clouds followed by light blue sky. The work is framed in a heavy, moulded, ornate, gilded frame with exposed canvas.Front: A.S.Murray (painted signature lower right) A Bush Track (plaque - lower centre on frame) Back: W.Hamer sticker Electoral Post Office sticker Hamilton Victoria stickerbush, landscape, australian

Interesting depiction of local area.Goodbush landscape., stage coach on the road., attire of miners., horses feeding from nosebags., loaded waggon in background.

Born: Melbourne, Victoria, Australia 1848; Lived and worked: New Zealand 1866-1877, New Zealand, United Kingdom, United States 1892-1905; Papua New Guinea 1916 and 1918; Died: Macedon, Victoria, Australia 1922NationalismLedger Gift, 1987Dense bush landscape with pink flowers, yellow trees and tall gum trees. Gold brushed timber frame. Recto: Signed "Ellis Rowan" in brown watercolour in l.l.c of composition; Not dated; Not titledwatercolour, landscape, trees, shrubs, flowers, autumn

Landscape painting of "a pool of water" and its surrounding Australian bush landscape. May be a reference to the Black Dam near Dunmoochin, Cottles Bridge.Signed and dated lower right corner "Harkin 1982"landscape, eltham, dam, cottles bridge, water, bush

The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.Unique collection of photographs showing the first years of an armoured regiment of the post-Second World War era Citizen Military Forces showing equipment, uniforms, training and social activity and some personalities.Black and white photograph of General Grant tank in a bush landscape. One of a collection of photographs of 8th/13th Victorian Mounted Rifles Regiment between 1948 and 1951.General Grant training daystank, gereral grant, cmf

A painting of a bush scene on a piece of tin.artwork, water colour, landscape, lydia chancellor, collection, art work, tin, painting, artwork, art, bush scene, landscape

pastelbeach, coast, margaret baskerville, pastel, bush, tree, landscape

P. S. PEVENSEY: Dimensions: 111ft 5 ins X 23 ft X 6ft 8 ins. Tonnage:130 tons Built: 1910 at Moama, N. S. W. References : Book: Murray river Paddle Steamers by D. Wardle Permewan , Wright & Co. : pp. 72, 129, 157 The P. S. PEVENSEY holds historical and social significance for the Port of Echuca, being the cornerstone of their paddlesteamer fleet. The PEVENSEY was renamed for the TV series All the Rivers Run, to P. S. Philadelphia , playing a staring role in the program, which has resulted in the PEVENSEY becoming a tourist attraction and has increased tourism to the Port of Echuca. The PEVENSEY was originally designed for use on the Murrumbidgee river, named after Pevensey station on that river. It was then owned by Permewan Wright & co operating out of Echuca for many years. She returned to Echuca in 1975 to begin another life as part of the Port of Echuca tourism operation.Colour photograph of the P. S. Pevensey, in side view, moving through the water. There are people, 2 on the bow and 3 on the stern of the boat as it steams along the river. In the background is the river bank and the bush landscape.On the front:PEVENSEY on the wheelhouse of the boat. Printed on reverse: This paper manufactured by Kodak: Print made by Kodak: KODAK: OCT.78-Mriverboats, p.s.pevensey, echuca, port of, paddle steamers

Monotone image of windswept bush. Costal landscape. Bush in the foreground is leaning to the right. Grasses in the foreground. The image is mounted on off white board and frame in a black frame.3/15 (Second State) / Cape Bridgewater / Carmel Wallace '93cape bridgewater, drypoint, etch, etching, carmel wallace, landscape, coastal, female artist, female artists, portland

Australian bush / rural landscape painting - Impressionistic with four cows under tree in the bottom left of the picturelandscape, impressionist

Landscape painting of a pine in the Australian bush landscape. Painted just after the devastating Victorian bushfires of 1962. Two figures run down the hill in the foreground. There are hills in the background and the sky is shades of pink and violet. Painted in warm earth tones in a painterly, tonal realist style.Lower right, grey paint, signature: 'Sonia Skipper'

Bill Delecca was born in Bendigo, Victoria in 1929. A Bendigo-based teacher and painter, he has exhibited widely in the local area from 1951, including a retrospective in Bendigo Art Gallery, 1990. He has twice won the Bendigo Art Prize for watercolour and his work is represented in galleries and private collections throughout Australia and overseas. Instrumental in the establishment of degree courses in Art at Bendigo College of Advanced Education, he is also the author of an Education Department report to the Australia Council, 1987.Oil pastel painting of a weatherboard house behind a wooden fence. A bare tree is next to the house and another outside the fence next to a boat. A green shrub at the right. The painting is signed by W.A. Delecca '52. Untitled. William Delecca collection.Signature of the artist at bottom rightaustralian bush, william delecca, landscape

oil on canvas on boardmargaret baskerville, landscape, bush, track, trees, cloud

oil on boardmargaret baskerville, landscape, bush, children, farm, barn, fence, tree

ramon horsfield, country, rural, landscape, bush, gum, tree, murray river

ramon horsfield, rural, landscape, bush, gum, tree, eildon, lake, lake eildon, hill

Caltex $500 Prizewinner at Portland Arts Festival - retained for Portland Collection.Dense landscape depiction - bushland in vivid blue and green shades. There is a clearing on the left with 3 houses and possibly a figure in the centre of the clearing. Blue sky with a long cloud. Mounted in a tan-coloured matt in a wooden frame with a faux-distressed gold finish.Front: H. Rosengrave 69 (lower right). Back: Top right - yellow sticker "1969-". Bottom centre - "Gary Hayman. Picture framer. 41 Julia Street, Portland, 33-5. 055 233154. Custom framing, framed printed, photos and oils."landscape, bush, bushland

Located in Central Victoria, Clydesdale is a locality in Hepburn Shire.Colour photograph of the bush around Clydesdale, Victoriaclydesdale, landscape, bush

Folding post cards were popular as tourist souvenir of visits to places in Australia throughout the 20th century. Many thousands of the same photographs were reproduced and the Warrnambool and District Historical Society has several examples of these photographs. These folding post cards are kept as examples of the souvenirs tourists bought in the early and mid 20th century and the photographs themselves give a good indication of what Warrrnamool and district looked like at the time. The photographs also indicate what were considered at the time to be tourist spots worth a visit and a photo. These are folding post cards with scenes of Warrnambool. One has a kangaroo and a bush landscape on the front cover and one has seven kookaburras and a gum tree on the cover. There are 15 of the same black and white photographs in each (taken about the 1920s). The covers are buff-coloured with a space on the front cover to write and address and affix a stamp. Front Cover – Photographic Souvenir of Warrnambool, Victoria On one (VC000803.2) – in pencil – ‘late 1920s’ and on back cover on affixed sheet, ‘ from Horsham H.S., 17.3.96’ warrnambool, 1920 warrnambool

Born: Creswick, Victoria, Australia 1870; Died: North Sydney, New South Wales, Australia 1952ImpressionismGift of Wooleen Pty. Ltd., 1980Bush and urban landscape with figures, trees and water. Gold brushed and painted timber frame.Recto: Signed "Percy Lindsay" in red oil in l.l.c of composition; Not dated; Not titledpainting, seascape, landscape, figures, trees, buildings, women, child

John Andrew GARDNER (1906-1987) Born Camperdown, Victoria John Gardner studied at the Nataional Gallery School Melbourne. He later travelled with Rex Battarbee through central and eastern Australia. He initially worked as a commercial art before taking up painting full time and became known for painting bush landscape and Aboriginal life in oils. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed landscape featuring mountains. art, artwork, john comoner, john a. comoner, landscape, mountains, available

Photograph of five men and five women, all young with a bush landscape in the background. The men are all dressed in formal suits with ties or bow ties, the women are all in long dresses and pretty hats. Written on the side of the photo in biro is: California Hill picnic 1900, held at Bridgewater. On the reverse in biro is:'S. Hercus 'Hiltondale?' 63 Mt. Korong Rd. California Gully, also printed on the reverse is : R. Dermer Smith, Photographer Bull St. BendigoR. Dermer Smith, Bull St. Bendigoperson, group, picnic group, california hill picnic 1901, r. dermer smith, bull st. bendigo, s. hercus 63 mt. korong rd. california gully

Awabakal is the language of the Aboriginal people from the Newcastle, Lake Macquarie and Lower Hunter region of New South Wales in Australia. As Lenny takes his walk and collects insects, we learn some words that relate to the bush, to the landscape and the little creatures that would be found there. This book has been printed with sound, which can be heard through an Audio Reader. If you have an Audio Reader, run it over the pages to hear the sound.word lists, colour illustrationsawabakal, newcastle, lake macquarie, hunter region, juvenile literature

Alistair Knox Park, an oasis of peace and beauty. Covered under National Trust of Australia (Victoria) Landscape Significance and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p173 It is hard to imagine that the Alistair Knox Park, an oasis of peace and beauty beside busy Main Road, Eltham, was once the township’s rubbish dump. It was only in the 1970s that the tip was transformed into this beautiful six hectare space, which later earned it a National Trust Landscape classification. Before its life as a dump, the area was used for small farms. Thanks largely to the foresight and efforts of local environmental builder Alistair Knox, the park was designed sympathetically with the character of the wider Eltham landscape. Then, appropriately, the park was named after Knox, who was an Eltham Shire Councillor from 1971 to 1975 and Shire President in 1975. The park designers were four major forces in the urban bush landscape garden –Knox, landscape designer Gordon Ford, artist Peter Glass and landscaper Ivan Stranger. The National Trust citation for the park, originally called Eltham Town Park, includes the Eltham railway trestle bridge and the Shillinglaw Cottage. The citation states ‘the semi-natural setting of the parkland provides a landscape which is evocative of the history of the area’. Manna Gums (Eucalyptus viminalis) and Candlebarks (Eucalyptus rubida) are significant features. Most of the park’s construction was directed by Bob Grant, Superintendent of the Parks and Gardens Department for the Eltham Shire Council. First plantings occurred in Arbour Week in 1973, then the lake and botanic area were completed in 1975, with Federal Government funding, and the toilet block in 1978. Bounded by the Eltham railway line, Panther Place, Main Road, Bridge and Susan Streets, the park is in a valley about a kilometre wide overlooked by steep hills at the east and west. The Diamond Creek flows through it and the picturesque historic timber trestle railway bridge edges the north. Informal plantings of Australian indigenous and native species in open and undulating grassed settings blend with the natural landscape of the Diamond Creek to the west. The bush-style plants, particularly around the creek, balance with open lawns, paths and a cascade flowing from a small lake to another below. A footbridge over the creek leads to the park’s west. The park includes an adventure playground and barbecue areas. The park stands on part of the land bought from the Crown in 1851 by Josiah Holloway, who subdivided it into allotments and which he called Little Eltham. Most of the land was subdivided into residential lots, but the creek valley, on which the park stands, was subdivided into farm-size lots, used mainly for orchards and grazing. One of the earliest owners was John Hicks Petty, who in 1874 bought a plot from Holloway. Other families who owned properties in that area, included Rees, Clark, Waterfall, Graham, Hill and Morant. In 1901 the railway was built through the area. Jock Read, an Eltham resident since around 1920, remembers several farms in the 1920s and ’30s that occupied the site of today’s park. A poultry farm, which extended from present day Panther Place, was owned by the Gahan family. Next to that farm was another for grazing cattle owned by Jack Carrucan. Beside this was land owned by John Lyon. A doctor lived beside this, and at the north-west corner of Bridge Street and Main Road stood a memorial to the soldiers who died in World War One, which was later moved to the RSL site. Mr Read also remembers other farms and orchards west of the creek In the early 1960s the Eltham Council began buying these farms and in the late 1960s turned the areas east of the Diamond Creek into a garbage tip. When this was filled above the creek’s flood plain, the tip was moved to the west of the creek.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, alistair knox park, eltham

Articles featuring local Eltham mudbrick houses designed by Robert Marshall, Alistair Knox, etc and landscape bush gardens by Gordon Ford • “At Home with the Browns”, pp114-116 ‘Cherrytrees’, home of Margaret and Neil Brown, originally built in 1917 for eminent Collins Street surgeon, Dr. Kent-Hughes. • “The Mud Brick homes of Eltham”, pp148-149 References to Alistair Knox and Robert Marshall • “Mudbrick Collecting”, pp150-155 Features a Robert Marshall designed home built by Barry Wild and Geoff Williams • “Mudbrick sophistication”, pp156-158 Features a Robert Marshall designed home with Gordon Ford landscape garden • “It grew like topsy”, pp160-162 originally designed by Alistair Knox then extended upon • “A love of the environment”, pp163-164 Features artist and local Councillor Jenni Mitchell’s mudbrick cottage designed by Bohdan (Danny) Kuzyk with influences of Alistair Knox • “Build your own muddy”. Pp165-167 • “Pioneer of bush gardens; Gordon Ford and his no mowing no weeding approach”, pp174-177 robert marshall, alistair knox, gordon ford, mudbrick, margaret brown, neil brown, cherrytrees, dr kent-hughes, eltham, barry wild, geoff williams, jenni mitchell, bohdan (danny) kuzyk, bush gardens

This photograph was captured at an undisclosed location and at an unidentified time but likely dates to approximately 1870. The photographer's details are not recorded and the identities of the men in the image are also not known. This image depicts a group of 10 men in typical miners fashion. Four of them are sat on a large log with one holding a small dog. Six miners stand behind those sitting. All these men are wearing a white button-up shirt and tan coloured work trousers. They wear heavy boots and seven have included a dark vest over their shirt. The man holding the dog has a pipe in his mouth. Two of these men are clean shaven with the remainder sporting a moustache and two with a beard. The ages of these men vary from late 20s to middle age. This group of men are located in a mining location with what appears to be an open cut mine in the background of the image. The ground is muddy and has elements which can help identify it as a mining location based on the condition of the landscape. The bottom of the men's trousers are muddy which provides the assurance that these men were working in this location when their photograph was captured. In the background there is one structure, possibly a dwelling, and bush which identifies the location as Australia. Open cut sluicing is a method used to extract gold and other precious metals from beneath the surface of the earth. This technique involved the use of high-powered hoses which broke down the soil enabling miners to come along and search this soil for gold. After the gold rush of the early 1850s, diggers had to enlist the assistance of heavy machinery and techniques like hydraulic sluicing in order to reach gold because the surface alluvial gold had already been discovered and removed. This heavy machinery was not used until after 1853. The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper mounted on board.Reverse: 1997.2518mining, goldfields, beechworth, 1870, australia, australian goldfields, diggers, victoria, sluicing, gold mining, miners, diggers victoria