This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Houses shown at 35, 58 and 32 Murray Street Elsternwick are still all extant (Google map image capture Dec 2018). Victorian Heritage Database - HO130 32 Murray Street Caulfield https://vhd.heritagecouncil.vic.gov.au/places/35535 (at 14/08/2021) No. 32 Murray Street is locally distinguished as the most imposing villa of its period in Murray Street whilst its association with J. W. Doyles, builder of several houses in the same street, is of interest. Its importance is enhanced by its substantially intact state.Page 138 of Photograph Album with four photographs (three landscape, one portrait) of 3 different houses on Murray Street. Handwritten: Murray Street [top right] / 35 [under top left photo] / 58 [under top right photo] / 32 [under bottom left photo] / 32 [under bottom right photo] / 138 [bottom right]trevor hart, garden, verandah, murray street, elsternwick, victorian style, houses, cast iron work, bay windows

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Caulfield Heritage Management Plan 1996 by Andrew Ward In 1889, Thomas B Jackson, an architect in Shoobra Road, owned lots 61-63 at the north­ west intersection with Clarence Street. He built the two red brick houses, each of 10 rooms, known as "Kenly" and "Nulmore" (later "Brampton") in that year. By 1894, P. Langwill had purchased the property, leasing it to Fred Henriques, an accountant. Alfred Pearson a government chemist, was occupying tenant by 1899. The property was known as ''Kenly''. In 1910, the house was vacant, however, in 1920, James Edmends was living there and continued to do so in 1930. By 1941, Edmends had moved to No. 32, and Alfred Williamson was in residence. "Kenly'' is important as an unusually imposing Elizabethan influenced villa in Caulfield, comparing with nos. 25 and 36 Gladstone Parade. Its importance is enhanced by its substantially intact state whilst its link with local architect Thomas B Jackson is of interest.Page 53 of Photograph Album with two exterior photographs (one portrait and one landscape) of a double storey brick mansion.Hand written: 34 Gladstone Parade [top left] / 53 [bottom left] trevor hart, 1880's, 1890's, gladstone parade, eversley, victorian, double storey, clarence street, architectural features, nulmore, brampton, kooyong park estate, architect, shoobra road, elsternwick, kenly, elizabethan influence, thomas b jackson, p langwill, fred henriques, alfred pearson, james edmends, alfred wiliamson, house names

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From: Glen Eira Heritage Management Plan (1996) by Andrew Ward and Associates Caulfield State School No. 773 is important at the State level as the first of similar designs for small schools prepared by the Education Department under H.R. Bastow at Little Bendigo (1878), Glen Waverley (1880), Ascot (1882), Sandringham (1885) and Carlsrich (1892)·. It is a representative example of the Department's Gothic Revival designs, distinguished, however, by the semicircular treatment of the master's office, which compares with Portland (1879), Queensberry St Carlton (1880) and Footscray (1881). It has local significance as the earliest surviving Government School in Caulfield and as a centre for education from 1877, comparing with St. Mary's Jubilee School (qv) of 1887. The Caulfield State School of 1877, the horse tramway of 1889 and subsequently the electric trams were all events confirming the importance of Glenhuntly Road and the fledgling community of "Camden Town" wherein the City's commercial centre has its origins.Page 68 of Photograph Album with three exterior photographs (two portrait and one landscape) of one side of Caulfield State School with a fourth photo missing from the page.Hand written: Caulfield State School No. 773 Glenhuntly Road [top right] / 68 [bottom right] trevor hart, glen huntly road, caulfield state school, caulfield primary school, gothic revival, schools, caulfield south, arched window, tower, 1870's, camden town, red brick, curved windows, terracotta tiles, master's office, education, primary school, glenhuntly road, h r bastow

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.HO35 Hopetoun Private Hospital, Part of 2 - 6 Hopetoun Street in the City of Glen Eira From Victorian Heritage Database citation for Hopetoun Private Hospital https://vhd.heritagecouncil.vic.gov.au/places/43647 as at (21/10/2020) "Melrose" is of regional importance as a surviving and substantially intact example of a large villa residence designed by the noted Melbourne architect, Charles Webb. Its importance is enhanced by the use of unusually fine cast iron balustrading. As a surviving large villa designed by Charles Webb, it compares with his own home "Farleigh" (1865), in Brighton whilst the tower compares with his first home "Chilton" (c.l853)Page 88 of Photograph Album with one landscape photograph of a double storey mansion.Handwritten: Hopetoun Street [top right] / 88 [bottom left]trevor hart, elsternwick, hopetoun street, melrose, hospital, private hospital, victorian, charles webb, cast iron lacework, villa residence, tower, verandah, cars, curved windows, balcony, decorative brackets, cast iron work, mansions, architects

The photograph represents the migratory labour force involved in hop growing, the major farm activity on "Panlook's Hop Gardens", Eurobin in 1934. William Panlook a descendant of a Chinese storekeeper on the Buckland Diggings, had originally commenced tobacco growing at the location until devastating frosts and unreliable tobacco prices brought a change in land use. The photograph represents the transition that occurred from tobacco to hops cultivation in the early 1930s. It is now a permanent feature of the farming landscape at Eurobin. It depicts the reliance on migratory seasonal labour and the importance of local expertise, some of Chinese descent. A sepia-coloured photograph of 30 hop pickers.Inscription: "The Panlook Boys, 1934"hop growing. panlooks hop gardens. eurobin

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

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 60 photographs that comprise the series were 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 of the township of Golden Square’ : Views of Victoria (General Series) No.57 : 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 Township is situated in the Bendigo district, on the road to Castlemaine, and although it is of little importance as a business town, is nevertheless of large importance in consequence of the great number of Quartz Reefs it contains. Almost every house is undermined, and large fortunes have been made by the proprietors. The Church in the distance is that of the Wesleyan body. It was in this township that gold was first discovered in the district of Bendigo.’nicholas caire (1837-1918), golden square (vic), bendigo (vic), gold mining, landscape photography - victoria

The dwelling is representative of the development of the Georgian Revival style in the 1920s and 30s and its popularity amongst the upper-middle classes as a result of the work of William Hardy Wilson and Professor Leslie Wilkinson. It is of importance as a fine and largely intact designer/builder example of the Georgian Revival style, with American Georgian Revival influences. The dwelling embodies the principal characteristics of the style. American Georgian Revival influences are noted in the deep eaves with modillions, central broken pediment, brick quoins and presentation of the central porch. The garden wall, with arched opening, in the side setback appears to be an early or original landscape feature, based on the comparable brick work detail construction with that of the house. Considering this, it is the only early landscape feature extant which assists in providing some understanding of the original landscape layout of the property. (Criteria D and E) (Boroondara Planning Scheme)Colour photographic positive of 264 Cotham Road, Kew. The residence was constructed in 1931 for the Howitt family. 264 Cotham Road, Kew (HO813) is an individually listed building of significance under Amendment C294 of the Boroondara Planning Scheme. 264 cotham road -- kew (vic.)

Thousands of volunteers work tirelessly to conserve and protect the environment of Geelong and the Bellarine. Their work often goes unnoticed. In 'The Work of Nature' the National Wool Museum and the Environment Department at the City of Greater Geelong worked with photographer Nicole Marie to showcase the significant contribution of environment volunteers in our region. Each of the eight people showcased in these portraits were nominated by their peers and members of the community for their significant contribution to conserving and protecting the environment. Dr John Newman - Geelong Field Naturalists Club Over almost twenty years John Newman has organised large groups of volunteers to conduct surveys across Geelong and the Bellarine for shorebirds and waterbirds. Understanding and collecting important environmental data helps in the effort to preserve important sites, much of this data is collected by volunteers. The information collected in Geelong and the Bellarine also forms part of national and international datasets that helps in understanding global patterns of migratory birds, such as sharp-tailed sandpiper, red-necked stint and the critically endangered curlew sandpiper. The data collected at the Moolap Saltworks (since 1981) and co-ordinated by John since 2003 highlighted the importance of this site for these three species and played a crucial role in protecting the area as a conservation site. Photo at Taits Point, Lake Connewarre Wildlife Reserve by Nicole Marie.Image showing an environmental portrait of a man holding binoculars with a water landscape in the background.environment, conservation, portraits, geelong, nature, exhibition, work of nature, geelong nature forum, volunteers, lake connewarre

Dry stone construction as a technique is used for much more than paddock walls. Across the volcanic plains of western Victoriaare marvelous sheep dips, stock loading ramps, huts, dams, retaining walls, and the rich and largely undiscovered heritage of indigenous dry stone structures. Dry stone walls indicate many aspects of our rural environment; the geological beginnings of the way the landscape was created, the patterns of early settlement by pastoralists and squatters, the types of stock that grazed the land and the methods of cattle and sheep management, of the efforts to thwart the spread of rabbits .... "For the casual but interested observer dry stone walls are good to look at, to photograph, to get up alongside and see the way they are constructed, to appreciate the varying shapes and sizes of stones and learn of the techniques of keeping often quite rounded stones in place. Apart from walls and other dry stone structures on grazing land we can also see dry stone techniques used in other places and in other phases of our history. Indigenous Australians have built, and continue to build, structures for shelter or hunting or trapping eels and fish in rivers and estuaries around the country. At spots around our coast line there is evidence of simple stone structures built by early maritime explorers. Prospectors in early mining encampments used dry stone construction to build retaining walls or the low walls of rudimentary shelters. If the future of dry stone walls in the Australian landscape is to be assured. wall owners and local governments have to accept and embrace their custodial role in assuring the preservation and celebration of walls. This is not an easy task, but, along with putting the necessary statutory mechanisms to ensure their retention, it is a task that must be pursued. The Dry Stone Walls Association of Australia has as its primary goal the increase in awareness of wall owners and local governments of the importance of dry stone walls. It also seeks to increase the level of training of skilled and semi skilled wallers, and the gaining of rudimentary skills by farmers so that they can maintain their own walls". Melton Star Weekly article about the Stone Wallslandscapes of significance

These volumes reproduce the diary material and the landscapes and sketches of Charles La Trobe, the Superintendent of the Port Phillip District of New South Wales ( 1839- 1851) and Lieutenant Governor of the colony of Victoria ( 1851-54 ). La Trobe is regarded as the man most responsible for the establishment of Warrnambool in 1847. His diaries document his trips to the Warrnambool region in 1845, 1846, 1848 and 1849 before and after the town site was settled.These volumes are of artistic significance being beautifully and expensively produced. The volumes contain information of vital importance to our knowledge of our early Warrnambool history. Other important details in the diary include information on early shipwrecks and the first settlers in our district in our district, especially the Allan brothers..1 This is a burgundy leather bound book of 380 pages. It has gold lettering on the cover and the spine and an oval inset in the centre of the front cover containing a coloured portrait of Charles La Trobe. The pages contain black and white and coloured art works and sketches and printed material. There is a burgundy coloured ribbon for marking pages The book is encased in a hard leather cover with a cut out window with gold edging. .2 This is a burgundy leather bound book of 343 pages. It has gold lettering on the cover and the spine and a rectangular inset in the centre of the front cover containing a coloured sketch of a rock, sea and cliffs drawn by Charles La Trobe. The pages contain sepia and black and white drawings and printed material. There is a burgundy coloured ribbon for marking pages. The book is encased in a hard leather cover with a cut out window with gold edging . .1 Charles Joseph La Trobe AUSTRALIAN NOTES 1839-1854 .2 Charles Joseph La Trobe LANDSCAPES AND SKETCHES charles la trobe, early warrnambool, la trobe journals

Black and white photograph of a black and white cow with horns. Champion sash from 1953This item is a part of a larger collection of 4,500 Frank Johnson photographs and negatives donated to Melbourne Royal by Frank Johnson’s daughter, Francis Beatty Wallace in 2016. This collection spanning from the 1930s to the 1980s holds important social and historical significance in preserving and sharing Victoria’s agricultural history and community. The photographs capture the local, regional, and state’s shared relationships developed through agriculture and the importance of farming and husbandry to the population and development of Australia. A large proportion of these photographs depict events from the Royal Melbourne Show, including livestock competitions, exhibitions and awards ceremonies. Dating back to 1848 when the society first began, the Royal Melbourne Show has held a special place in the hearts and minds of Victorians, allowing for extensive showcasing and celebration of agricultural excellence, bridging the divide between metropolitan and rural Victoria.A black and white photograph, landscape, printed on gloss paper with a white borderroyal melbourne show, cattle, cow, winners, blue ribbon competition, agricultural shows

Black and white photograph of a man standing with a long horned cow. The cow has a ribbon from the Royal Melbourne Coronation Show across its head, but it is unclear what colour (and therefore placing) it has received.This item is a part of a larger collection of 4,500 Frank Johnson photographs and negatives donated to Melbourne Royal by Frank Johnson’s daughter, Francis Beatty Wallace in 2016. This collection spanning from the 1930s to the 1980s holds important social and historical significance in preserving and sharing Victoria’s agricultural history and community. The photographs capture the local, regional, and state’s shared relationships developed through agriculture and the importance of farming and husbandry to the population and development of Australia. A large proportion of these photographs depict events from the Royal Melbourne Show, including livestock competitions, exhibitions and awards ceremonies. Dating back to 1848 when the society first began, the Royal Melbourne Show has held a special place in the hearts and minds of Victorians, allowing for extensive showcasing and celebration of agricultural excellence, bridging the divide between metropolitan and rural Victoria.A black and white photograph, landscape, printed on gloss paper with a white borderroyal melbourne show, cattle, cow, agricultural shows, blue ribbon competitions

Black and white photograph of a Champion cow, possibly a shorthorn, 1953This item is a part of a larger collection of 4,500 Frank Johnson photographs and negatives donated to Melbourne Royal by Frank Johnson’s daughter, Francis Beatty Wallace in 2016. This collection spanning from the 1930s to the 1980s holds important social and historical significance in preserving and sharing Victoria’s agricultural history and community. The photographs capture the local, regional, and state’s shared relationships developed through agriculture and the importance of farming and husbandry to the population and development of Australia. A large proportion of these photographs depict events from the Royal Melbourne Show, including livestock competitions, exhibitions and awards ceremonies. Dating back to 1848 when the society first began, the Royal Melbourne Show has held a special place in the hearts and minds of Victorians, allowing for extensive showcasing and celebration of agricultural excellence, bridging the divide between metropolitan and rural Victoria.A black and white photograph, landscape, printed on gloss paper with a white borderroyal melbourne show, cattle, cow, blue ribbon competitions, agricultural shows, winners

Black and white photograph of a Champion shorthorn cow 1953This item is a part of a larger collection of 4,500 Frank Johnson photographs and negatives donated to Melbourne Royal by Frank Johnson’s daughter, Francis Beatty Wallace in 2016. This collection spanning from the 1930s to the 1980s holds important social and historical significance in preserving and sharing Victoria’s agricultural history and community. The photographs capture the local, regional, and state’s shared relationships developed through agriculture and the importance of farming and husbandry to the population and development of Australia. A large proportion of these photographs depict events from the Royal Melbourne Show, including livestock competitions, exhibitions and awards ceremonies. Dating back to 1848 when the society first began, the Royal Melbourne Show has held a special place in the hearts and minds of Victorians, allowing for extensive showcasing and celebration of agricultural excellence, bridging the divide between metropolitan and rural Victoria.A black and white photograph, landscape, printed on gloss paper with a white borderroyal melbourne show, shorthorn, cattle, cow, agricultural shows, winners, blue ribbon competitions

Grand Parades on the main arena were a popular Melbourne Royal Show attraction and tradition. The first was in 1910 - prior to this, horses and cattle had been paraded around the arena separately, but at this particular Show they were paraded together for the first time in a ‘Massed’ (Grand) Parade. This innovation proved very popular with exhibitors and the general public alike. The last Grand Parade was in 2004.This item is a part of a larger collection of 4,500 Frank Johnson photographs and negatives donated to Melbourne Royal by Frank Johnson’s daughter, Francis Beatty Wallace in 2016. This collection spanning from the 1930s to the 1980s holds important social and historical significance in preserving and sharing Victoria’s agricultural history and community. The photographs capture the local, regional, and state’s shared relationships developed through agriculture and the importance of farming and husbandry to the population and development of Australia. A large proportion of these photographs depict events from the Royal Melbourne Show, including livestock competitions, exhibitions and awards ceremonies. Dating back to 1848 when the society first began, the Royal Melbourne Show has held a special place in the hearts and minds of Victorians, allowing for extensive showcasing and celebration of agricultural excellence, bridging the divide between metropolitan and rural Victoria.A sepia photograph, landscape, printed on gloss paper with a white border.royal melbourne show, grand parade, cattle, horses, main arena, melbourne showgrounds, agricultural shows

Black and white photograph of cattle judges speaking to a young girl leading a hereford bullThis item is a part of a larger collection of 4,500 Frank Johnson photographs and negatives donated to Melbourne Royal by Frank Johnson’s daughter, Francis Beatty Wallace in 2016. This collection spanning from the 1930s to the 1980s holds important social and historical significance in preserving and sharing Victoria’s agricultural history and community. The photographs capture the local, regional, and state’s shared relationships developed through agriculture and the importance of farming and husbandry to the population and development of Australia. A large proportion of these photographs depict events from the Royal Melbourne Show, including livestock competitions, exhibitions and awards ceremonies. Dating back to 1848 when the society first began, the Royal Melbourne Show has held a special place in the hearts and minds of Victorians, allowing for extensive showcasing and celebration of agricultural excellence, bridging the divide between metropolitan and rural Victoria.A black and white photograph, landscape, printed on gloss paper with a white borderroyal melbourne show, cattle, hereford, bull, kids at show, judging, agricultural shows, blue ribbon competitions

Black and white photograph of a Champion Jersey cow 1953This item is a part of a larger collection of 4,500 Frank Johnson photographs and negatives donated to Melbourne Royal by Frank Johnson’s daughter, Francis Beatty Wallace in 2016. This collection spanning from the 1930s to the 1980s holds important social and historical significance in preserving and sharing Victoria’s agricultural history and community. The photographs capture the local, regional, and state’s shared relationships developed through agriculture and the importance of farming and husbandry to the population and development of Australia. A large proportion of these photographs depict events from the Royal Melbourne Show, including livestock competitions, exhibitions and awards ceremonies. Dating back to 1848 when the society first began, the Royal Melbourne Show has held a special place in the hearts and minds of Victorians, allowing for extensive showcasing and celebration of agricultural excellence, bridging the divide between metropolitan and rural Victoria.A black and white photograph, landscape, printed on gloss paper with a white borderroyal melbourne show, jersey, cow, cattle, 1953 royal melbourne coronation show, blue ribbon competitions, winners, agricultural shows

A Champion bull (small) 1953This item is a part of a larger collection of 4,500 Frank Johnson photographs and negatives donated to Melbourne Royal by Frank Johnson’s daughter, Francis Beatty Wallace in 2016. This collection spanning from the 1930s to the 1980s holds important social and historical significance in preserving and sharing Victoria’s agricultural history and community. The photographs capture the local, regional, and state’s shared relationships developed through agriculture and the importance of farming and husbandry to the population and development of Australia. A large proportion of these photographs depict events from the Royal Melbourne Show, including livestock competitions, exhibitions and awards ceremonies. Dating back to 1848 when the society first began, the Royal Melbourne Show has held a special place in the hearts and minds of Victorians, allowing for extensive showcasing and celebration of agricultural excellence, bridging the divide between metropolitan and rural Victoria.A black and white photograph, landscape, printed on gloss paper with a white border[on bull's neck number] 138royal melbourne show, bull, cattle, blue ribbon competitions, agricultural shows

Black and white photograph of a hereford bullThis item is a part of a larger collection of 4,500 Frank Johnson photographs and negatives donated to Melbourne Royal by Frank Johnson’s daughter, Francis Beatty Wallace in 2016. This collection spanning from the 1930s to the 1980s holds important social and historical significance in preserving and sharing Victoria’s agricultural history and community. The photographs capture the local, regional, and state’s shared relationships developed through agriculture and the importance of farming and husbandry to the population and development of Australia. A large proportion of these photographs depict events from the Royal Melbourne Show, including livestock competitions, exhibitions and awards ceremonies. Dating back to 1848 when the society first began, the Royal Melbourne Show has held a special place in the hearts and minds of Victorians, allowing for extensive showcasing and celebration of agricultural excellence, bridging the divide between metropolitan and rural Victoria.A black and white photograph, landscape, printed on gloss paper with a white borderroyal melbourne show, hereford, bull, agricultural shows, blue ribbon competitions

This photograph was taken at Samaria Farm on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee Landcare was also researching how small landholders could run some enterprises around the time of this trip. Samaria Farm is located in northeast Victoria, near Mount Samaria, which is located 130 km northeast of Melbourne. Samaria Farm was owned by Sue and Due Matheson at the time of the trip and had a renowned rose garden, pigs, poultry, alpacas, and goats on their nine-hectare farm. The rose garden consists of 3000 damask roses. Samaria Farm distils the oil from these roses and is the only farm in Australia to do this. Rose oil has historically been used for religious and medical use. 20 kg of rose buds are picked by hand every day, which is then distilled and produced 5 to 8 ml of oil. The entire four-week season produces 80 to 100 ml of oil. Rose water is also created during this process and produces about 300 litres per season. Along with the oil, the Farm also harvests lemons, lime, olives, and oranges. The Farm is currently owned by Utako and Anthony since 2022, with Vicki and Allan Wight being the previous owners. Wooragee Landcare Group was created in 1988. Its core mission is to work towards eradicating animals and pests from the land to protect the natural vegetation and promote revegetation projects. This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management. The group is important to the community and for the environment.Landscape coloured photograph printed on gloss paperReverse: WAN NA E0NA2N2. NNN+ 2 4240/ [PRINTED] (No. 18) / 371samaria farm, wooragee, wooragee landcare group, wooragee landcare's collection, samaria, small farm, land use, social, rose oil, damask roses, pests

This photograph was taken at Samaria Farm on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee Landcare was also researching how small landholders could run some enterprises around the time of this trip. Samaria Farm is located in northeast Victoria, near Mount Samaria, which is located 130 km northeast of Melbourne. Samaria Farm was owned by Sue and Due Matheson at the time of the trip and had a renowned rose garden, pigs, poultry, alpacas, and goats on their nine-hectare farm. The rose garden consists of 3000 damask roses. Samaria Farm distils the oil from these roses and is the only farm in Australia to do this. Rose oil has historically been used for religious and medical use. 20 kg of rose buds are picked by hand every day, which is then distilled and produced 5 to 8 ml of oil. The entire four-week season produces 80 to 100 ml of oil. Rose water is also created during this process and produces about 300 litres per season. Along with the oil, the Farm also harvests lemons, lime, olives, and oranges. The Farm is currently owned by Utako and Anthony since 2022, with Vicki and Allan Wight being the previous owners. Wooragee Landcare Group was created in 1988. Its core mission is to work towards eradicating animals and pests from the land to protect the natural vegetation and promote revegetation projects. This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management. The group is important to the community and for the environment. Landscape colored photograph printed on gloss paperReverse: WAN NA E0NA2N2. ANN+ 1 4240/ [PRINTED] (No. 19) / 372samaria farm, wooragee landcare group, wooragee, victoria, mount samaria, farming, roses, rose oil, damask roses, agriculture, pests, vegetation

This photograph was taken at Tatong Tavern, Victoria on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee was also researching how small landholders could run some enterprises around the time of the trip. This photograph includes Jo Luisi, Bob Bennet, Christine Stewart, and Julius Holt. Tatong Tavern was built in the 1880's as Tatong Hotel or 'Pub' hotel for Mr. William Worrall. The original hotel was destroyed in 1923 by a fire, but was rebuilt for Mr. M. C. Clarke. The building is a representation of the changing society, as it changes as its uses and visitors change. The photograph shows the beer garden, which has been added more recently. The Tavern has a bar, restaurant, and accommodation area. Wooragee Landcare Group was created in 1988. Its core mission is to work towards eradicating animals and pests from the land to protect the natural vegetation and promote revegetation projects.This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management. It showcases the social aspect of the Group, as well as the historic Tatong Tavern. Landscape colored photograph printed on gloss paper. Reverse: WAN NA E0NA2N2. NNN+ 1 4240/ [PRINTED] (No. 22) / 375wooragee, wooragee landcare group, wooragee landcare's collection, land use, social, tatong tavern, tatong hotel, tatong pub

This photograph was taken at Tatong Tavern, Victoria on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee was also researching how small landholders could run some enterprises around the time of the trip. This photograph includes Christine Stewart, Julius Holt, Graeme Missen, Peter Finedon, and Sue Brunskill. Tatong Tavern was built in the 1880's as Tatong Hotel or 'Pub' hotel for Mr. William Worrall. The original hotel was destroyed in 1923 by a fire, but was rebuilt for Mr. M. C. Clarke. The building is a representation of the changing society, as it changes as its uses and visitors change. The photograph shows the beer garden, which has been added more recently. The Tavern has a bar, restaurant, and accommodation area. Wooragee Landcare Group was created in 1988. Its core mission is to work towards eradicating animals and pests from the land to protect the natural vegetation and promote revegetation projects.This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management. It showcases the social aspect of the Group, as well as the historic Tatong Tavern.Landscape colored photograph printed on gloss paper. Reverse: WAN NA E0NA2N2. NNN+ 2 4240 / [PRINTED] (No. 23) / 376wooragee, wooragee landcare group, wooragee landcare's collection, land use, social, tatong tavern, tatong hotel, tatong pub

Wooragee Landcare was formed in 1989 to promote sustainable conservation and land-use practices in the North-East region of Victoria. The organisation's work has included public awareness and education campaigns to control invasive, introduced species and protect native wildlife, such as campaigns to replant native plant species to improve soil integrity and restore habitat for flora and fauna. The organisation has drawn on the work of a variety of Government and academic experts to ensure best practice approaches are utilised. This photograph was taken at Riverview Farm, Victoria on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee was also researching how small landholders could run some enterprises around the time of the trip. This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management.Landscape colour photograph printed on gloss paper. Reverse: WAN NA E0NA2N2. NNN+ 4 4240/ [PRINTED] (No. 24) / 377wooragee, wooragee landcare group, wooragee landcare's collection, land use, social, riverview farm, animals, pests, indigo shire, tatong, samaria, north-east victoria