64 p., black & white illustrationsnon-fictionmerri creek, native flora

Digital image of Merri Island, Warrnamboollandscape, seascape, geology, warrnambool, coast, coastal, merri island

Digital images of Middle Merri Island, Warrnamboollandscape, seascape, geology, warrnambool, middle island, coast, coastal

Spiral bound publication on the History of the Merri Creek Protectorate Station 1841-1851, with major references to Robinson and Thomas. Extensive bibliographic notes and references.tableswoiwurrung, woi wurrung, boonwurrung, boon wurrung, eastern kulin, derrimut, william thomas, yarra, merri creek, local history, victorian history, education

Bridge over the Merri Creek from the Argus Newspapermerri creek, fitzroy, bridge

Digital image of the mouth of the Merri River at Stingray Bay. landscape, seascape, geology, warrnambool, coast, coastal, stingray bay, merri river, mouth

Digital images showing Middle Island and Merri Island, Warrnambool.landscape, seascape, geology, warrnambool, middle island, merri island, coast, coastal, thunderpoint

Image from CD (Compact Diskette for use in computers) - see Reg Item 135. Image titled "Merri Creek on CD, of looking from above Rushall station towards Clifton Hill Station with the Merri Creek on the left side of the photo. Shows cable trams in Queens Parade, cable trams shunting, the Clifton Hill cable tram depot, and the railway bridge over Merri Creek. 1930's? Photo has lots of white spots on the image.trams, tramways, merri creek, clifton hill, rushall station, cable trams

A history of Aboriginal cultural institutions in colonial Victoria, in this book the interaction between Wurundjeri people and government officials and settlers at the confluence of the Merri Creek and Yarra River.Paperback book, 90 p. black & white illusmerri creek, aborigines victoria

Set of two comb bound drawings for the "St Georges Road - Merri Parade to Miller St - Rehabilitation of Tramway and Divided Road", stippled card covers, providing details of plans, drainage, cross sections, track locations for the reconstruction of the roadway. Prepared Dec. 1988, used 1989. 621.2 Second volume titled "Amended Cross Sections" Prepared by the Road Construction Authority - RCA - Road Design Group Team 2. See Reg item 2653 for reports prior to the work being undertaken.trams, tramways, thornbury, northcote, tramways, road works, construction, st georges road

The building at 94 Merri St is amongst the earliest buildings in Warrnambool. It was possibly constructed before 1854 and maybe as early as 1848. The original building consisted of four main rooms under a hip roof. The outer walls were masonry , apparently rubble The Heritage Council indcate that on the balance of probabilities this was the general store of Richard Osbourne and John Moffat Chisholm built in 1847-48.The building at 94 Merri Street had historical and architectural significance to the state of Victoria. It was a rare example of surviving, pre separation building with associated interest in its materials and components It is associated with Richard Osbourne who founded the Warrnambool Examiner(1851_1889) and the town’s first historian. Architecturally, the significance of the house lay in the hand -wrought timber framing. All the major timbers in this building had been hand sawn. The Gold rush of the 1850’s saw this process mechanised. A kitchen fireplace in the rear skillion included a large block of Merri Creek Mudstone, a combination of “tufa” and clay that was used in the Warrnambool District as an excellent substitute for fire bricks. The house was demolished in 2011 and items of significance were salvaged, this brick being one. While some bricks were imported, there is evidence that there were a number of brick burning businesses in operation around this time. However it is difficult to ascertain to which group this brick belongs. Red clay rectangular brick. Contains some small gravel like material, possibly ferrous buckshot, grey mortar remnants on side and diagonal crack along one side.warrnambool, 94 merri street, richard osbourne, john moffat chisholm, hand sawn timber, brick, building materials

This book looks at the earliest years of contact between Aborigines and Europeans in the Melbourne area. The contact period saw the Wurundjerei-willam resisting, coping with and adapting to a new and alien culture. A degree of mutual respect seems to have existed, at least for a short time, of each other?s intentions. It appears that the settlement at Port Phillip did not encounter the degree of violence seen elsewhere.maps, b&w illustrations, colourwoiwurung, woi wurrung, wurundjeri, wurundjeri willam, merri merri, william thomas,

These documents relate to the sale of land in Merri Street Warrnambool in 1959 by Swintons Pty Ltd of Warrnambool. The buyer of the land was George O’Grady, a Warrnambool baker. The land sold for £4000 and there was a shed on the land (called the ‘Office’) which George O’Grady indicated he wished to be included in the sale. William and Ann Swinton migrated to Australia in 1854 and for a decade William Swinton worked as a builder and carpenter in the Warrnambool area, erecting many buildings, including the Wangoom Presbyterian Church. In 1865 he opened a store in Timor Street Warrnambool, selling groceries, hardware, china and glassware. By 1888 the business was known as William Swinton and Sons. Branch stores were opened in Wangoom, Cudgee, Nullawarre, South Warrnambool and West Warrnambool. After William Swinton died his son Robert became the first managing director of Swintons Pty Ltd. In 1934 the business split with George Swinton and Sons selling clothing, furnishings and glassware and Swintons Pty Ltd selling seeds, produce and hardware. Today the Swinton family still operates a furniture and bedding shop in Timor St Warrnambool.These items are of some interest as being connected to the Warrnambool business of Swintons Pty Ltd. They will be of interest to researchers. The current Swinton business in Timor Street is the oldest family business in Warrnambool and, with the name Swinton associated with businesses in Timor Street Warrnambool for 152 years it is amongst the oldest family businesses in Australia.The items here relate to the sale of land by Swintons Pty Ltd., Warrnambool. .1 These are three pages of white paper with typed material, a lawyer’s signature in blue ink, one green stamp and a sketch of the land location. .2 This is a sheet of thick paper containing a plan of the land sold. The paper has printed material and a sketch of the land with part of it coloured in pink. .3 This is a small piece of paper torn at the bottom right edge. It has handwritten material (a letter) in blue ink..2 ‘Plan of Survey of Part of Crown Allotment 18 Section 3 Township of .2 ‘Plan of Survey of Part of Crown Allotment 18 Section 3 Township of Warrnambool Parish of Wangoom County of Villiers’ .3 ‘Tuesday Dear Mr Swinton I am writing to say that I would like to have the ‘Office’ Thanking You George O’Grady’swinton family,, warrnambool

This photograph of the Warrnambool Lighthouse Keeper's Quarters was donated together with an accompanying letter written by John Lindsay on October 21st, 1997. The letter was addressed to Howard Nicholl, the Director of Flagstaff Hill at that time. The following information was gleaned from the contents of the letter and the labels attached to the photograph:- The photograph of the Cottage was taken in about 1917. The woman is Gertrude Shade, married to James Shade, who was the Warrnambool Town Council's Officer responsible for keeping records of Shipping activity entering and leaving the busy Port of Warrnambool. The couple and their children, Janet and William, were residents of the Assistant Lighthouse Keeper's Quarters at that time. The family is pictured in the garden on the west side of the building. A washhouse, these days referred to as a laundry, is behind the building and had already been removed when the Flagstaff Hill Planning Board had access to the site in 1972. The corrugated iron veranda was replaced in the 1980s with a smaller covered entry. Janet Shade married the man who lived across the road, Stewart Lindsay, in 1935. Stewart was employed by Nestle at the age of sixteen, working in the export department. He was acting Manager when the Manager became ill, supervising the loading of dairy products and biscuits into the holds of the waiting ships, where they were then exported to Indonesia. Many of the ships were registered in Liberia and the seamen were called 'lascar seamen, or Indian Sailors. Janet and Stewart had a son, John Stewart Lindsay, who was a Pharmacist, a member of the Warrnambool City Council, the Mayor of the City of Warrnambool, a former Director of Flagstaff Hill, and Chairman of the Flagstaff Hill Advisory Committee.This photograph has significance as a historical record of the Warrnambool Lighthouse Kerr'er's Quarters in 1917. The photograph connects the cottage to local families, to local industry, to the Port of Warrnambool, and to overseas exports from Warrnambool. Photograph from c. 1917 depicts the western side of the Warrnambool's Lighthouse keeper's Quarters constructed in bluestone, which was where the Assistant Lighthouse Keeper resided. The image shows the corrugated iron lean-to, and other rooms that were added to the original building after 1872, which were removed in the 1970s due to their poor condition. The members of the family pictured were residents at the time; Gertrude Shade (Mrs James Shade), her daughter Janet and her son William. Inscriptions are on the reverse and the accompanying envelope. Typed label "Gertrude Shade with William and Janet. Lighthouse Keeper's Cottage, Flagstaff Hill, Merri St Warrnambool" Stamp "John Stewart Lindsay, Pharmacist, --0 Thompson Street Warrnambool 3280" "HOWARD NICHOLL / FLAGSTAFF HILL / MERRI STREET" " KEEP OUT OF REACH OF CHILDREN / Lindsay's Pharmacy / 119 Liebig Street, Warrnambool / Tel. 5561 4310" [round symbol of mortar and pestle] Typed letter (from John Lindsay to Howard Nicholl, October 21 1997)flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, lighthouse keeper's quarters, lighthouse keeper's cottage, gertrude shade, james shade, janet shade, john stewart lindsay, stewart lindsay, nestle, warrnambool exports, port of warrnambool, planning board, 1917, howard nicholl, william shade, export to indonesia, janet lindsay, light keeper

Black and White photograph of a butchers truck (K. Potts?) truck having collided with the rail over road bridge, Merri Parade Northcote, possibly c1980. MMTB Photograph - same handwriting as Reg item 288. Has a policeman walking alongside, the damaged truck, other vehicles including a Clifton Bricks truck. The bridge has the low clearance sign in metres, but with a newer imperial sign alongside.In ink on rear "Merri Road Northcote"trams, tramways, northcote, bridges, collision

merri creek

Katherine Hattam’s exuberant work, Powerlines Merri Creek equalises the natural environment with man-made constructions as she explores the hybrid landscape of local waterways and their locations. Hattam’s art practice comprises drawing, collage, printmaking and sculpture. She employs a contemplative process in revealing the relationships and tensions between objects, space and placement.Hattam has exhibited widely as a solo artist as well as in group shows for over five decades. She has won the Robert Jacks Drawing Prize (2006), Banyule Works on Paper Art Award (2005) and has been short-listed in the Dobell Drawing Prize, the National Works on Paper Prize and the Arthur Guy Memorial Painting Prize. Her work is represented in public, corporate, educational and private collections such as the National Gallery of Australia, state and regional art galleries, The Darling Foundation, Smorgen Collection, Artbank, Queen Victoria Hospital, National Australia Bank and La Trobe University Museum of Art.Painting

Eolo Paul Bottaro is a Melbourne-born artist of Italian heritage who divides his time between Sicily and Australia. He has always worked across multiple mediums, including painting, sculpture, drawing and printmaking. In his oeuvre, mythology and urban life occupy the same space, as he adapts ancient tales often sourced from art history to create contemporary narratives. Each of his finely rendered oils, sculptures and works on paper has the capacity to send the viewer on an imaginative and intellectual journey to decode their meaning. By enacting ancient stories in familiar urban surroundings, the artist alludes to the enduring relevance of myth to express human experience. Alongside his interest in myth and place, considerable attention is dedicated to that ephemeral quality that keeps the eye and spirit engaged – beauty. Not in a cliché sense of a gorgeous face or body represented in paint, but a beauty that resides in both the fine details rendered, and his overarching compositions that sync with natural geometry (such as the golden mean) to create a pleasing visual harmony.merri creek

Eolo Paul Bottaro is a Melbourne-born artist of Italian heritage who divides his time between Sicily and Australia. He has always worked across multiple mediums, including painting, sculpture, drawing and printmaking. In his oeuvre, mythology and urban life occupy the same space, as he adapts ancient tales often sourced from art history to create contemporary narratives. Each of his finely rendered oils, sculptures and works on paper has the capacity to send the viewer on an imaginative and intellectual journey to decode their meaning. By enacting ancient stories in familiar urban surroundings, the artist alludes to the enduring relevance of myth to express human experience. Alongside his interest in myth and place, considerable attention is dedicated to that ephemeral quality that keeps the eye and spirit engaged – beauty. Not in a cliché sense of a gorgeous face or body represented in paint, but a beauty that resides in both the fine details rendered, and his overarching compositions that sync with natural geometry (such as the golden mean) to create a pleasing visual harmony.

David Wadelton’s photographs capture the architecture, people and character of Darebin’s suburbs and surrounds since 1975. Wadelton’s photographs preserve the past while also documenting the slow transformation and gentrification of the inner-city suburbs. This record is collected in publications and anthologies as well as more informally on the Facebook page Northcote Hysterical Society, which Wadelton has run since 2019. In 2016, David donated a suite of 20 photographs to the Darebin Art Collection, providing a wonderful archive of Darebin’s local history. Artist Bio David Wadelton was born in 1955 in Terang, Victoria, and now lives and works in Naarm/Melbourne. He studied visual art at Preston and Phillip Institutes in Melbourne, graduating in 1976 and 1982, respectively. Since the early 1980s, he has exhibited extensively throughout Australia with regular solo exhibitions at Tolarno Galleries, Melbourne. A survey exhibition of Wadelton’s paintings and photographs, 'David Wadelton: Icons of Suburbia', was presented by McClelland Sculpture Park + Gallery in 2011. In addition to his career as a visual artist, Wadelton has made significant contributions to the field of experimental music in Australia.merri station

David Wadelton’s photographs capture the architecture, people and character of Darebin’s suburbs and surrounds since 1975. Wadelton’s photographs preserve the past while also documenting the slow transformation and gentrification of the inner-city suburbs. This record is collected in publications and anthologies as well as more informally on the Facebook page Northcote Hysterical Society, which Wadelton has run since 2019. In 2016, David donated a suite of 20 photographs to the Darebin Art Collection, providing a wonderful archive of Darebin’s local history. Artist Bio David Wadelton was born in 1955 in Terang, Victoria, and now lives and works in Naarm/Melbourne. He studied visual art at Preston and Phillip Institutes in Melbourne, graduating in 1976 and 1982, respectively. Since the early 1980s, he has exhibited extensively throughout Australia with regular solo exhibitions at Tolarno Galleries, Melbourne. A survey exhibition of Wadelton’s paintings and photographs, 'David Wadelton: Icons of Suburbia', was presented by McClelland Sculpture Park + Gallery in 2011. In addition to his career as a visual artist, Wadelton has made significant contributions to the field of experimental music in Australia.merri parade

David Wadelton’s photographs capture the architecture, people and character of Darebin’s suburbs and surrounds since 1975. Wadelton’s photographs preserve the past while also documenting the slow transformation and gentrification of the inner-city suburbs. This record is collected in publications and anthologies as well as more informally on the Facebook page Northcote Hysterical Society, which Wadelton has run since 2019. In 2016, David donated a suite of 20 photographs to the Darebin Art Collection, providing a wonderful archive of Darebin’s local history. Artist Bio David Wadelton was born in 1955 in Terang, Victoria, and now lives and works in Naarm/Melbourne. He studied visual art at Preston and Phillip Institutes in Melbourne, graduating in 1976 and 1982, respectively. Since the early 1980s, he has exhibited extensively throughout Australia with regular solo exhibitions at Tolarno Galleries, Melbourne. A survey exhibition of Wadelton’s paintings and photographs, 'David Wadelton: Icons of Suburbia', was presented by McClelland Sculpture Park + Gallery in 2011. In addition to his career as a visual artist, Wadelton has made significant contributions to the field of experimental music in Australia.merri station

David Wadelton’s photographs capture the architecture, people and character of Darebin’s suburbs and surrounds since 1975. Wadelton’s photographs preserve the past while also documenting the slow transformation and gentrification of the inner-city suburbs. This record is collected in publications and anthologies as well as more informally on the Facebook page Northcote Hysterical Society, which Wadelton has run since 2019. In 2016, David donated a suite of 20 photographs to the Darebin Art Collection, providing a wonderful archive of Darebin’s local history. Artist Bio David Wadelton was born in 1955 in Terang, Victoria, and now lives and works in Naarm/Melbourne. He studied visual art at Preston and Phillip Institutes in Melbourne, graduating in 1976 and 1982, respectively. Since the early 1980s, he has exhibited extensively throughout Australia with regular solo exhibitions at Tolarno Galleries, Melbourne. A survey exhibition of Wadelton’s paintings and photographs, 'David Wadelton: Icons of Suburbia', was presented by McClelland Sculpture Park + Gallery in 2011. In addition to his career as a visual artist, Wadelton has made significant contributions to the field of experimental music in Australia.merri creek

'Crossing the Merri' comes from Siri Hayes’ 'Lyric Theatre series' (2002-2004). This large digital photographic print depicts a scene of still beauty as the couple contemplate the Merri Creek and its surrounds. The image by Hayes is of Merri Creek in winter with the bare deciduous trees, ragged in nature but not indigenous to the local area. These trees were later removed to make way for indigenous planting, so this photograph also documents the changing values we have in relation to our environment. Artist Bio Siri Hayes is a Melbourne-based artist who predominantly works in the mediums of photography, video and textiles. She has exhibited widely in Australia and internationally since the early 2000s in exhibitions at galleries such as the National Gallery of Victoria, the Australian National Portrait Gallery and Heide Museum of Modern Art. She travelled with her family on an Australia Council funded residency to Barcelona Spain and has been the recipient of awards such as the Olive Cotton Award for Photographic Portraiture and funding grants from Creative Victoria and the Australia Council. Her work is held in over 20 Australian public collections and many private collections in Australia and around the world.merri creek

'Lyric Theatre at Merri Creek' comes from Siri Hayes’ 'Lyric Theatre' series (2002-2004). This large digital photographic print is of a scene on the Merri Creek trail. Three people are placed near the creek, one watching the creek babbling by as two others near the large branch of a tree appear to be in deep conversation. The Lyric Theatre series examines human relationships and presence in an urban environment and this work, while being reminiscent of a film still or theatrical production, is open to speculation and interpretation. It invites the viewer into the drama from a position of familiarity with the local surrounds of the City of Darebin. Artist Bio Siri Hayes is a Melbourne-based artist who predominantly works in the mediums of photography, video and textiles. She has exhibited widely in Australia and internationally since the early 2000s in exhibitions at galleries such as the National Gallery of Victoria, the Australian National Portrait Gallery and Heide Museum of Modern Art. She travelled with her family on an Australia Council funded residency to Barcelona Spain and has been the recipient of awards such as the Olive Cotton Award for Photographic Portraiture and funding grants from Creative Victoria and the Australia Council. Her work is held in over 20 Australian public collections and many private collections in Australia and around the world.merri creek

In 'Bridge Merri Creek', Katherine Hattam continues her exploration of local waterways and their locations. This work on plywood depicts the bridge over Merri Creek on High Street, Northcote with accompanying trees and powerlines and the much-ignored cyclists dismount sign. It is surrounded by a repertoire of recurring domestic motifs significant to the artist including chairs, clocks and a shopping basket, creating a psychological layering of memory via personally symbolic objects. Artist bio Hattam has exhibited widely as a solo artist as well as in group shows for over five decades. She has won the Robert Jacks Drawing Prize (2006), Banyule Works on Paper Art Award (2005) and has been short-listed in the Dobell Drawing Prize, the National Works on Paper Prize and the Arthur Guy Memorial Painting Prize. Her work is represented in public, corporate, educational and private collections such as the National Gallery of Australia, state and regional art galleries, The Darling Foundation, Smorgen Collection, Artbank, Queen Victoria Hospital, National Australia Bank and La Trobe University Museum of Art.

merri-bek public art collection