Colour photograph of operational railway gates across Lydiard Street North, Ballarat.ballarat, ballarat railway station, gates, railway gates, heritage, cultural landscape, crossing, signals

ballarat, cultural landscape, anzac day, dawn service, arch of victory, avenue of honour, heritage, commemoration

(verso) l.r; AK21298australian artist, first nations artist, female artist, abstract, cultural story, landscape

Gunybi Ganambarr has built a reputation for his innovative techniques, incising and shaping barks and adding materials to traditional art forms. He attributes his confidence in using new materials to his twelve year stint as a part of a building team in remote homelands. Ganambarr primarily lives in his mother’s community at Gangan, which lies north-west of Blue Mud Bay in eastern Arnhem Land, Northern Territory. Ganambarr has absorbed the minutiae and spirituality of place; his paintings can be read as meditations on the specific tracts of land for which he is entitled to speak; in this case, a sacred expanse of water behind the Gangan outstation where this work was produced, referred to as Gulutji. Ganambarr’s designs recount the ancestral formation of the land, the beings that reside within its borders and
the seasonal events that nourish its ecosystem. His work exemplifies the confidence and cultural assertion of a new, experimental Yolngu art, while remaining firmly influenced by elders and senior artists. Ceremonial hollow log poles Arnhem Land, Northern Territory The people of Central and Eastern Arnhem Land refer to themselves collectively as Yolngu, meaning human beings. The Yolngu traditionally use logs naturally hollowed out by termites in a funerary and ceremonial functions, principally as an ossuary. In an Australian contemporary art context however hollow log sculptures are purely memorial in function and made explicitly for public display. In Arnhem Land hollow logs are known as larrakitj; hollow logs known by other names are used in burial practices by a number of Aboriginal peoples in the north of Australia. The logs can also represent the deceased person, as the designs applied are the same as those painted on the body during the burial rites. All Yolngu clans belong to a moiety, one of two complementary halves of society: Dhuwa and Yirritja. All such affiliations play a part in Aboriginal artists' inherited right to paint an established set of designs belonging to their social group; this inheritance is, in fact, the artist's copyright over imagery. stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, painting, gunybi ganambarr, natural environment, cultural heritage, cultural identity, cultural knowledge, landscape

An esteemed elder and matriarch in her community, Loongkoonan was born around 1910 at Mount Anderson Station, Western Australia. Her artwork concerns - repeatedly and with uninterrupted focus - Nyikina country. These are the lands abutting the lower stretches of Mardoowarra, the majestic waterway that in 1837 would be renamed by European colonists the Fitzroy River. The First Peoples inhabitants of these lands call themselves Yimardoowarra—the people of the river—reflecting not just their habitation of this place, but their belonging to this country. During her travels across country, Loongkoonan collected bush tucker, plants used for medicinal purposes and spinifex wax in the wet season. More than a botanical reference, her ‘bush tucker’ renderings are composed as metaphors for a complex mapping of extensive, accumulated cultural knowledge. Loongkoonan explained, "Footwalking is the only proper way to learn about country, and remember it. That is how I got to know all of the bush tucker and medicine. … In my paintings I show all types of bush tucker – good tucker that we lived off in the bush. I paint Nyikina country the same way eagles see country when they are high up in the sky." It is this idiosyncratic representation of her country in aerial perspective that contributes to Loongkoonan’s individuality and significance as an artist. The landscape is depicted as a complex composition with multiple simultaneous viewpoints. These colourful, directly painted works are innovative, joyous and without apparent precedent. Loongkoonan began painting at the age of 95. Her work is held in a number of prominent Australian collections and was featured in the 2016 Adelaide Biennale.stonnington contemporary art collection, first peoples, first nations, indigenous, aboriginal torres strait islander, painting, loongkoonan, cultural identity, landscape, nyikina, bush tucker, cultural knowledge

The meat industry and animal by-product works of Melbourne's West, in the series "Interpreting the Cultural Landscape", with the assistance of the Department of Planning and Development, VictoriaThe Australian Meat Preserving Company was established on the banks of the Maribyrnong River in 1870 on the site of boiling works dating from the 1840s.32 page booklet, A5, Cover illustration of Raleigh's boiling down works on the Maribyrnong River, from water-colour by Greeves C. 1850s Title: Meat and By-Products Author: Gary Vines Melbourne's Living Museum of the West Inc.western suburbs, meat industry

James Tylor’s practice examines racial and cultural identity in Australian contemporary society and social history. He explores Australian cultural representation through his multi-racial heritage comprising Aboriginal, English, and Maori Australian ancestry. This interest is informed using these media in that era to document Indigenous Australian and Maori culture. Tylor reminds us of what has been removed from the view of the Australian landscape, and reflects on the limitations of the romantic landscape tradition itself - the tensions between Australian and Indigenous histories.Digital print on Hahnemühle paperstonnington contemporary art collection, landscape, cultural identity, first peoples, post colonialism, first nations, indigenous, aboriginal torres strait islander, mixed media, photography, james tylor

James Tylor’s practice examines racial and cultural identity in Australian contemporary society and social history. He explores Australian cultural representation through his multi-racial heritage comprising Aboriginal, English, and Maori Australian ancestry. This interest is informed using these media in that era to document Indigenous Australian and Maori culture. Tylor reminds us of what has been removed from the view of the Australian landscape, and reflects on the limitations of the romantic landscape tradition itself - the tensions between Australian and Indigenous histories.Digital print on Hahnemühle paperstonnington contemporary art collection, landscape, cultural identity, first peoples, post colonialism, first nations, indigenous, aboriginal torres strait islander, james tylor, mixed media, photography

James Tylor’s practice examines racial and cultural identity in Australian contemporary society and social history. He explores Australian cultural representation through his multi-racial heritage comprising Aboriginal, English, and Maori Australian ancestry. This interest is informed using these media in that era to document Indigenous Australian and Maori culture. Tylor reminds us of what has been removed from the view of the Australian landscape, and reflects on the limitations of the romantic landscape tradition itself - the tensions between Australian and Indigenous histories. Digital print on Hahnemühle paperstonnington contemporary art collection, landscape, cultural identity, first peoples, post colonialism, first nations, indigenous, aboriginal torres strait islander, mixed media, photography, james tylor

James Tylor’s practice examines racial and cultural identity in Australian contemporary society and social history. He explores Australian cultural representation through his multi-racial heritage comprising Aboriginal, English, and Maori Australian ancestry. This interest is informed using these media in that era to document Indigenous Australian and Maori culture. Tylor reminds us of what has been removed from the view of the Australian landscape, and reflects on the limitations of the romantic landscape tradition itself - the tensions between Australian and Indigenous histories.Digital print on Hahnemühle paperstonnington contemporary art collection, landscape, cultural identity, first peoples, post colonialism, first nations, indigenous, aboriginal torres strait islander, mixed media, photography, james tylor

James Tylor’s practice examines racial and cultural identity in Australian contemporary society and social history. He explores Australian cultural representation through his multi-racial heritage comprising Aboriginal, English, and Maori Australian ancestry. This interest is informed using these media in that era to document Indigenous Australian and Maori culture. Tylor reminds us of what has been removed from the view of the Australian landscape, and reflects on the limitations of the romantic landscape tradition itself - the tensions between Australian and Indigenous histories.Digital print on Hahnemühle paperstonnington contemporary art collection, landscape, cultural identity, first peoples, post colonialism, first nations, indigenous, aboriginal torres strait islander, james tylor, mixed media, photography

James Tylor’s practice examines racial and cultural identity in Australian contemporary society and social history. He explores Australian cultural representation through his multi-racial heritage comprising Aboriginal, English, and Maori Australian ancestry. This interest is informed using these media in that era to document Indigenous Australian and Maori culture. Tylor reminds us of what has been removed from the view of the Australian landscape, and reflects on the limitations of the romantic landscape tradition itself - the tensions between Australian and Indigenous histories. Digital print on Hahnemühle paperstonnington contemporary art collection, landscape, cultural identity, first peoples, post colonialism, first nations, indigenous, aboriginal torres strait islander, mixed media, photography, james tylor

James Tylor’s practice examines racial and cultural identity in Australian contemporary society and social history. He explores Australian cultural representation through his multi-racial heritage comprising Aboriginal, English, and Maori Australian ancestry. This interest is informed using these media in that era to document Indigenous Australian and Maori culture. Tylor reminds us of what has been removed from the view of the Australian landscape, and reflects on the limitations of the romantic landscape tradition itself - the tensions between Australian and Indigenous histories.Digital print on Hahnemühle paperstonnington contemporary art collection, landscape, cultural identity, post colonialism, first peoples, first nations, indigenous, aboriginal torres strait islander, mixed media, photography, james tylor

Contents: • Next meeting, guest speaker; Raelene Marshall: Shaping of the Australian Cultural Landscape; a talk about the role of dry stone walls in Australian history • September Meeting • Eltham Justice Precinct • Notice of Special General Meeting • News from the Andrew Ross Museum by Diana Bassett-Smith • Society Notes • Other Local News The Shire of Eltham Historical Society was formed in October 1967. The first newsletter of the Society was issued May 1978 and has been published continuously ever since on a bi-monthly basis. With the cessation of the Shire of Eltham in late 1994, the Society's name was revised to Eltham District Historical Society and this name first appeared with issue No. 103, July 1995. The collection of the Society's newsletters provides a valuable resource on the history of the Society's activities, office bearers and committee members, guest speakers and subjects of historical interest pertinent to the former Shire of Eltham and the Eltham District.A4 photocopied newsletter distributed to membersnewsletter, eltham district historical society, shire of eltham historical society

The Budj Bim National Heritage Landscape - Tyrendarra Area on the Australian National Heritage List lies on the Tyrendarra lava flow between the Fitzroy River and Darlot Creek close to the township. The Budj Bim Cultural Landscape was ascribed on the UNESCO World Heritage List on 06 July 2019 (AEST). These photographs were taken during a guided tour with Gunditjmara guide Dennis Rose.Remains of stone shelters built and used by the Gunditj Mirring people.rock shelter, aboriginal, aborigines, tyrendarra, winda mara, rock hut, gunditjmara, unesco world heritage

Includes: Plan of Subdivision, Detailed plan, map of garden, Auctioneer's plan for 1854 sale, Botanical plan of Medlow & Landscape history notes. Full title : Medlow Garden survey and landscape capability survey. A report for the National Trust of Australia (Victoria) A report detailing the landscape survey of Medlow Garden estate. Includes landscape history, cultural significance, particulars about vegetarian, garden, rehabilitation and plans.A report detailing the landscape survey of Medlow Garden estate. Includes landscape history, cultural significance, particulars about vegetarian, garden, rehabilitation and plans. 38 p illland surveys, medlow garden, bismark estate, rosalie estate, warrigal road, surrey hills, bismarck avenue, warwick avenue, t p payne, (mr) hugh glass, boroondara, (maj.) (mr) - cairncross, (mrs) mary jane cairncross, (dr)(mr) richard joseph bull, (mrs) catherine grace bull, (miss) norma bull, (mr) ronald richard bull, medlow, house names, (mr) rex swanson, landform australia

Includes: Plan of Subdivision, Detailed plan, map of garden, Auctioneer's plan for 1854 sale, Botanical plan of Medlow & Landscape history notes. Full title : Medlow Garden survey and landscape capability survey. A report for the National Trust of Australia (Victoria) A report giving a detailed landscape survey of Medlow Garden estate. Includes landscape story, cultural significance, particulars about vegetarian, garden, rehabilitation and plans.Copy of a report giving a detailed landscape survey of Medlow Garden estate. Includes landscape story, cultural significance, particulars about vegetarian, garden, rehabilitation and plans. 38 pages with illustrations.land surveys, medlow garden, bismark estate, rosalie estate, warrigal road, surrey hills, bismarck avenue, warwick avenue, t p payne, (mr) hugh glass, boroondara, (mr) (maj) - cairncross, (mrs) mary jane cairncross, (dr) (mr) richard joseph bull, (mrs) catherine grace bull, (miss) norma bull, (mr) ronald richard bull, medlow

Brimbank’s heritage‑listed properties are protected because they demonstrate important aspects of the area’s history — industrial innovation, early settlement, worker housing, civic development, and significant Aboriginal cultural landscapes. This document is an extract from the "Collection Document Project" prepared for Mr. Frank Ford, Sunshine & District Historical Society (See Catalogue No 5756). The document lists heritages place names, Brimbank Heritage Overlay Numbers and Victorian Heritage Register Numbers. Notes: 1. This list does not include heritage listed places from the former City of Sunshine currently in the City of Footscray. 2. This list does not include heritage listed places in St. Albans. 3. The date of this list is C2009.Heritage Listed Reference Numbers: Sunshine - Deer Park area 5741 - Sunshine And Deer Park Heritage Listed Reference Numbers Page 1.jpg Heritage Precincts Commonwealth Munitions Housing Estate BCC H019 Concrete Housing Estate Leith Avenue Sunshine BCC H020 ICI Residential Area Deer Park BCC H021 Sunshine Commercial Heritage Area BCC H022 McKay Housing Estate Durham Road BCC H023 McKay Housing Estate King Edward Avenue BCC H024 Railway Estate Sunshine BCC H025 War Service Homes Heritage Area Sunshine BCC H026 Heritage Place Massey Ferguson Complex Devonshire Road Sunshine BCC H03 VH H0667 John Darling & Son Flour Mill 74 Sydney Street Albion BCC H04 VH H0827 Rail Bridge (Albion Viaduct) Over Maribyrnong River BCC H05 VH H1197 Black Powder Mill Parklea Avenue And Grassy Point Road Cairnlea BCC H06 VH H2029 Foxley Lodge Farm And Its Drystone Walls 472A Boundary Road Derrimut BCC H08 1 Corio Steet Sunshine BCC H09 H.V. McKay Memorial Gardens BCC H010 VH 1953 H.V. McKay Offices 2 Devonshire Road Sunshine BCC H010 VH H1953 Main Outfall Sewer Brimbank (Brooklyn) BCC H013 VH H1932 Mt. Derrimut Homestead, Its Drystone Walls And Associated Buildings Including The Meteorological Centre Mt. Derrimut Road Derrimut BCC H017 5741 - Sunshine And Deer Park Heritage Listed Reference Numbers Page 2.jpg Heritage Place (Cont) Albion VR DC Substation Talmage Street Albion BCC H028 Pig And Calf Market 55 Market Road Brooklyn BCC H029 Monsanto Chemicals Huntsman Chemical Co 455 Somerville Road Brooklyn BCC H030 Deer Park Explosive Factories Complex Off Ballarat Road Deer Park BCC H032 Hume And Hovell Cairn Cnr Station Road And Ballarat Road Deer Park BCC H034 Sunshine Signal Box Off Hampshire Road BCC H039 Black Arch Rail Bridge Sunshine Road Sunshine BCC H040 Sugar Gum Row Talmage Street Albion BCC H042 Sunshine Advocate Office 11 - 15 Sun Crescent Sunshine BCC H051 H.V. McKay Memorial Gates Anderson Road Sunshine BCC H053 H.V. McKay Memorial Presbyterian Church Anderson Road Sunshine BCC H054 Sam McKay House And Garden 147 Anderson Road Sunshine BCC H055 Former Sunshine Technical School Derby Road Sunshine BCC H056 Former Sunshine Girls Technical School Derby Road Sunshine BCC H057 Pedestrian Footbridge Over Railway 1 Devonshire Road Sunshine BCC H058 House At 48 Station Place Sunshine BCC H061 ANZ Bank Former ES&A Bank 115 Durham Road Sunshine BCC H063 Sunshine Metropolitan Fire Station And Flats 330 Hampshire Road Sunshine BCC H064 Derrimut Hotel 132 Durham Road Sunshine BCC H065 St. Mark's Anglican Church 49 Suns Cresent Sunshine BCC H066 Robinson House 33 Sun Cresent Sunshine BCC H067 St. Theresa Catholic Church & School 26 Adelaide Street Albion BCC H070 5741 - Sunshine And Deer Park Heritage Listed Reference Numbers Page 3.jpg Heritage Place (Cont) Curacloe BCC H073 Former Wunderlich Now West End Market 47 - 49 McIntyre Road Sunshine North BCC H073 Selwyn Park Albion BCC H074 Sunshine Baptist Church 42 Ridley Street & 16 Sydney Street Albion BCC H075 Cameron House & Dairy BCC H076 Houses & Trees 22 - 24 Talmage Street Albion BCC H077 Ford (Solomon Ford) Burke Road To Canning Street Avondale Heights BCC H079 Lions House Of Sunshine 8 Watt Street Sunshine BCC H080 Guiding Star Hotel 700 Geelong Road Brooklyn BCC H081 Hunt Club Hotel 775 Ballarat Road Deer Park BCC H082 Deer Park Hotel 760 Ballarat Road Deer Park BCC H083 Deer Park Primary School No 1434 812 Ballarat Road Deer Park BCC H084 Opie's Dairy 2 - 4 Egan Street Deer Park BCC H086 St. John's Anglican Church & Hall 2 - 4 Miles Street Deer Park BCC H087 Neale Road Ford 192 Neale Road Deer Park BCC H088 Deer Park Hall 50 Station Road Deer Park BCC H089 Sunshine Market 13 - 19 City Place Sunshine BCC H091 Methodist Church & Hall 32 Devonshire Road Sunshine BCC H0105 Macedonian Community Centre 45 Fourth Avenue Sunshine BCC H0106 Hannah McKay House 145 Anderson Road Albion BCC H0107 Chemist Shop 234 Hampshire Road Sunshine BCC H0108 Sunshine Municipal Offices 6 - 18 Alexandra Avenue Sunshine BCC H0109 Sunshine Primary School 3113 111 Derby Road Sunshine BCC H0110 Standard Steel 12 - 16 Market Road Sunshine BCC H0111 Our Lady of the Immaculate Conception Catholic Church 93 Monash Street Sunshine BCC H0113 Parsons House 114 Moris Street Sunshine BCC H0114 Our Lady's School Station Place Monash Street Sunshine BCC H0115 Palmas 2 Tyler Street Sunshine BCC H0116 St. Andrews Greek Orthodox Church (Greek Cypriot) 14 Simmie Street Sunshine West BCC H0119 5741 - Sunshine And Deer Park Heritage Listed Reference Numbers Page 4.jpg Heritage Place (Cont) William McKay House 150 Durham Road Sunshine BCC H0121 Albion Primary School No 4265 61 - 81 Adelaide Street Albion BCC H0122 Ralph's Meatworks 690 Geelong Road Brooklyn BCC H0123 Former Church of Christ 81 - 83 Hampshire Road Sunshine BCC H0125 Former Masonic Lodge No 226 93 Hampshire Road Sunshine BCC H0126 Sunshine Picture Theatre 126 - 128 Hampshire Road Sunshine BCC H0127 Shops 193 - 199 Hampshire Road Sunshine BCC H0130 Ukrainian Catholic Church 2 Holmes Street Ardeer BCC H0132 Shops 207 - 219 Hampshire Road Sunshine BCC H0133 Victorian Row House 25 Benjamin Street Sunshine BCC H0134 Victorian Row House 29 Benjamin Street Sunshine BCC H0135 Victorian Row House 31 Benjamin Street Sunshine BCC H0136 Victorian Row House 33 Benjamin Street Sunshine BCC H0137 Victorian Row House 35 Benjamin Street Sunshine BCC H0138 50 Forrest Street Albion BCC H0139

This 1983 group photograph of Grade Prep and Grade 1 students with their teacher at Jacana Primary School offers a vivid snapshot of everyday school life during a pivotal time in the suburb’s development. Founded in 1959, Jacana Primary was a cornerstone of the local community until its closure in the early 2000s, serving not only as an educational institution but also as a vital hub for social connection and shared identity. The image captures the school’s enduring values of camaraderie, inclusiveness, and belonging, while also reflecting the broader social and cultural landscape of Jacana in the late 20th century. As part of the school’s visual legacy, this photograph enriches our understanding of how public education helped shape community identity and cohesion across generations.This 1983 photograph of Grade Prep and Grade 1 students with their teacher at Jacana Primary School is a valuable visual record of early childhood education and community life in Melbourne’s northern suburbs during the late 20th century. Capturing a moment of everyday school experience, the image reflects the school’s foundational values of inclusiveness, camaraderie, and belonging. Jacana Primary, established in 1959 and active until the early 2000s, played a central role in shaping the social fabric of the suburb, serving as both an educational institution and a community hub. The photograph contributes to our understanding of how public schooling fostered local identity, intergenerational connection, and social cohesion during a formative period in Jacana’s development.Colour Photograph on Matte Finish PaperBack; (Blue Label): PH-559 (White label) PH - 4413 (Manufacturer's Label - In Numerous Places) Fujicolor/Paper jacana primary school, education, photograph, group photograph, 1983, grade prep & 1, jacana

My visual stories seek to inform about the natural and cultural histories that attribute to the experience of country (place), in order hat the audience gains respect, understanding and a sense of belonging to the place. My practice involves various mediums in two and three dimensional form, which include permanent and ephemeral installation, paving, stonework, woodwork, metal work, lighting design, illustration, mural painting and mosaic work. I am competent in using all these mediums, but do have a preference to stone and wood. Having been involved in public and community art as a designer and sculpture/maker in both individual and collaborations for the past fifteen years, I have been fortunate to work with and partake in various collaborations and project teams; working with council organizations, landscape designers, art practitioners, artisans and arts workers. (https://www.glennromanis.com/biography, accessed 08 June 2022)Glenn ROMANIS Wurundjeri/woi wurrung and Boonwerrung 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.A fire pit with sculpted redgum seats in the shape of a gum leaf. It was created for the Arts Victoria 'Artlands' Conference held in Horsham in 2004. Artlands is a national event designed to reflect and respond to emerging trends and shine a spotlight on arts in regional Australia. It is designed to showcase new thinking, present contemporary work, and generate exchange and conversations. The programming champions best practice and strengthens a national network of artists and practitioners working in regional, rural and remote Australia. Presented and delivered by Regional Arts Australia, Artlands is positioned as a multi-art, cross-industry and inter-generational. It presents a critical survey of the contemporary regional cultural landscape; and provides much-needed opportunities for artists to gather, present work and enter into meaningful exchange.art, artwork, aboriginal, glenn romanis, sculpture, campsite, camp fire

The 1982 photograph of Prep 1, Room 13 at Jacana Primary School offers a vivid glimpse into the everyday life of early primary education during a time of rapid suburban development in Melbourne’s north. Established in 1959, Jacana Primary served as both an educational institution and a community anchor, supporting generations of families through periods of social and demographic change. By the early 1980s, the school was welcoming children from increasingly diverse backgrounds, reflecting the evolving cultural landscape of the Jacana area. This image captures the warmth and inclusiveness of the school’s learning environment, where young students began their educational journeys in a setting that valued connection, care, and community. As part of the school’s visual archive, the photograph contributes to a broader understanding of how public education shaped local identity and fostered social cohesion during a transformative era in Melbourne’s suburban history.The 1982 Prep 1, Room 13 photograph from Jacana Primary School is a historically significant artefact that captures the early stages of formal education during a transformative period in Melbourne’s northern suburbs. It reflects the school’s commitment to creating a welcoming and supportive environment for young learners, many of whom were experiencing their first year of schooling. Taken during a time of growing cultural diversity and suburban expansion, the image offers insight into the social and educational values of the early 1980s. It also provides a visual record of classroom life, fashion, and the evolving identity of the Jacana community. As part of the school’s visual archive, this photograph preserves the memory of a place that played a foundational role in shaping the lives of children and fostering a strong sense of belonging and community. Colour Photograph on Matte Paper(White Label); PH- 4479 (Blue Label); PH 5561 Pencil inscription; J.P.Sjacana primary school, education, photograph, group photograph, 1982, prep 1, room 13

This article outlines the key findings and recommendations from a Defence Department report on Fortuna Villa, a historic site in Bendigo: Any future development must respect and complement the heritage values of Fortuna Villa. The site's cultural landscape and archaeological resources should be managed and documented appropriately. Most buildings on the site are in good to very good condition, with minimal structural issues.Some buildings contain asbestos and lead paint; soil samples revealed elevated arsenic and low mercury levels, indicating environmental hazards that need management. Future uses should be sustainable and compatible with the site's heritage significance.Adaptive re-use of interiors and sensitive restoration are encouraged, with minimal changes to key heritage areas.Occasional public access should be considered in future plans. The Heritage Management Plan provides policies and specific recommendations for conservation before and after the property's disposal by Defence.The plan aims to ensure ongoing management aligns with official heritage values.Next StepsThe report will inform decisions by the City of Greater Bendigo and the State Government regarding potential purchase and future management of the site.Fortuna Articles - "Respect our heritage" July 23 2009 The Bendigo Advertiser by Nino Bucci, pictures Julian Prowd This item contains the following: 11217.44a Colour sketch of the policy for future landscape 11217.44a Colour photo of Fortuna 11217.44c Part of Page 7 - Fortuna Articles - "Respect our heritage"non-fictionbendigo, fortuna, george lansell

The Bessiebelle Sheepwashes and Yards complex is located on the former 14,000 acre Ardonachie Run, established in 1848 by pastoralist Samuel Gorrie, then carrying 6,000 sheep. In 1864 this run was subdivided into smaller runs, and the sheep washes were located within Mount Eccles and Lake Gorrie Run. The date of construction of the washes and walls is not known, although they were probably constructed within the period 1848-1864. The Bessiebelle Sheepwashes and Yards are probably the largest and most sophisticated surviving example of a traditional pastoral property sheepwash in Victoria. They clearly demonstrate the large network of races, yards and folds necessary for washing thousands of sheep over a short period of time. The Bessiebelle sheep washes apparently predate later technological changes and the necessity for hot water washing. The Bessiebelle sheepwashes and yards are of landscape significance as a cultural landscape which has been both modified by, and cleverly adapted to, an annual process that was of critical importance within the pastoral calendar. The drystone walls and races appear to evolve from the rocky terrain, and have a strong organic affinity with the prevailing harsh landscape. The drystone walls demonstrate a high level of craftsmanship and skill in their construction, and reflect the extensive scale of pastoral operations across the landscape. The Bessiebelle sheepwashes and yards are of archaeological significance to the State of Victoria. The site has not been fully surveyed but its complexity strongly suggests a potential to reveal more about the washing processes and associated pastoral occupation and activity in the area.(Heritage Victoria)drystone, bessibell, sheep race, sheep wash, agriculture