Digital copy of school group photograph Mernda State School No 488 1927

Digital copy of school group photograph Mernda State School No 488

Moses Thomas standing with 2 children, Walter Thomas in wagon at the Bridge Inn Hotel Mernda possibly late 1860s early 1870s

Bluestone bridge across the Plenty River, Mernda. Commissioned by Moses Thomas, Secretary Morang District Road Board 1867bridges, moses thomas, mernda, bridge inn road

Blackbraes Farm is listed in the Whittlesea Heritage Overlay HO14, Photographic survey, 10 Cravens Road Merndablackbraes farm, mernda

In 2018 GHS members visited Turner's Bakery in Mernda for lunch and continued on to visit historic sites remaining in the Mernda area. These photographs show remnant bush and the Parks Victoria sign in the area.Mernda is an area of rapid modern growth with a few remaining historic buildings dating from the 19th centuryDigital copy of colour photographsmernda, parks victoria, bushland

The Mechanics Institute, Yan Yean (later Mernda) was built in 18881 p. black and white photocopy from bookyan yean, mernda, mechanics institutes victoria

In 2018 GHS members visited Turner's Bakery in Mernda for lunch and continued on to visit historic sites remaining in the Mernda area. This photograph shows the Mernda Mechanics Institute, established 1888. It was sited to the rear of the Bridge Inn Hotel on land donated by the hotel's owner. Today the Mechanic's institute is a small hall available to rent.Mernda is an area of rapid modern growth with a few remaining historic buildings dating from the 19th century.Digital copy of colour photographsmernda, mernda historic sites, mernda mechanics institute, mechanics institutes victoria, bridge inn hotel mernda

Brian was born in Ayr on the West Coast of Scotland. Brian lived in Mernda Street Sunshine West. Brian was an artist who painted in water colours. His paintings won prizes at the Royal Melbourne Show, Sunbury Show, Bacchas Marsh Show and at the Ballarat Society of Artists Awards. Brian became good friends of John Willaton, a S&DHS member and former City of Sunshine Town Clerk. During a trip to Scotland by John & his wife Dorothy to research Dorothy's family tree, the pair stayed at Brian's brother's in-law Bed & Breakfast accommodation. Brian gave this painting to John & Dorothy in memory of their trip to Scotland.Water colored painting of the Brigde over the River Doon, Scotland mounted in cardBrig O' Doon|To John From Brian Lawrence in memory of your trip to the Brig O' Doon (Bridge over River Doon) B. Lawrence 98brig o' doon, scotland, brian lawrence

In 1851 Moses Thomas purchased 400 acres, including a half mile frontage to the Plenty River, at Mernda (then known as Morang) where he operated a farm, inn and other business. In 1865 Moses Thomas was appointed Engineer, Clerk and Collector for the Morang District Road Board. In this role he would have been responsible for overseeing the collection of local property rates and the maintenance and construction of local roads and drains. Road District Boards were one of the earliest forms of local government in Victoria. The Morang or Upper Plenty Road District was established in 1862. It covered part of what is today Mernda, Doreen, South Morang, Mill Park and Bundoora. In 1875, the area merged with the Whittlesea Road District to form the Shire of Whittlesea. Moses Thomas briefly served as a Councillor with the Shire of Whittlesea until his death in 1878. Correspondence. Letter, paper, handwritten text with seal. Letter from James Ryan, Shire Secretary, Shire of Whittlesea to Mrs Moses Thomas on the death of Moses 18 May 1878.

significant as a work of art by local Pyrenees artist, locally significant to the Central Highlands Region of Victoria as a representation of local landscape and/or culture landscape with water painting "signed: John Burrack '84 (lower left) verso: Afternoon Lake Goldsmith John Burrack Mernda '84"

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

Painted from Gardenia Road. The extensive farm complex on the right. (Western side of Gardenia Road). was demolished in 1972 for housing development. Buildings shown are cowshed, hay barn, engine shed and stables. Painted in the late afternoon, the lengthening shadows and lowering sky, could presage the ominous fate awaiting the farm with development. The Ziebell Farm was known as “The Pines” and sadly none of the many that proliferated there remain. Today they would be equivalent to those at the cemetery, having been planted at the same time. Provenance: John Borrack CollectionThese two paintings by acclaimed Victorian artist John Borrack, a direct descendant of the Ziebell family through his mother Augusta, hold substantial artistic, historical, and familial significance for Ziebell’s Farmhouse Museum and the broader Westgarthtown narrative. Borrack, recognised as one of Australia’s leading landscape painters, is known for his sensitive, precise and atmospheric depictions of place. His professional standing and artistic skill considerably elevate the cultural value of these works. The paintings depict Ziebell’s Farmhouse and the associated outbuildings on the opposite side of Gardenia Road, capturing the rural character of the property prior to subdivision and suburban encroachment. They function as accurate visual records of the farm’s earlier setting and the self-sufficient lifestyle. Their documentary value is amplified by Borrack’s own reflections: he explained that he made the original sketches in the 1950s and later, in the 1970s, “decided to make a positive record of what the farm looked like”, developing these paintings from those earlier drawings. One work shows the farmhouse and milking shed as seen from the cemetery: the other captures the view from the front garden toward the former vegetable garden. Their provenance deepens their significance. As works created by a Ziebell descendant who consciously sought to record his family heritage, the paintings embody intergenerational memory, personal connection, and the enduring legacy of the Ziebell family within Victoria’s cultural landscape. They enrich the museum’s interpretive capacity, offering rare artistic insight into the historic farmstead and contributing meaningfully to the preservation and understanding of Westgarthtown’s heritage. Watercolour depicting Ziebell Farmhouse from the north, Thomastown and Mernda. In gold frame with cream border.Artist signature: John Borrack; 70's Ziebells German Lane South Viewillustrations, watercolours, john borrack, ziebell, watercolour, painting