The Uniting church was the former Moyston Presbyterian ChurchThe photograph shows the front, front porch and one side of the bluestone church. The church sign is also shown.Moystonmoyston presbyterian church, moyston uniting church

Stories about Moyston.Cream card Cover with Brown PrintReminiscences of Moyston by A.W Vanstanstawell

Moyston: Ararat Parishmoyston presbyterian church, moyston uniting church

Black and white photo of an elderly man with white hair and a beard sitting on a chair. He is wearing a three-piece suit and is holding a hat against his knee.Written on the front of the photo in ink: Mr George Miller Moyston. Photo by Ernest Trevan Moyston

Black and hwote photograph of greyhounds. Race 6 1 Ultimate Boy. 4 Shaka Winnie, 2 Moyston Mork.clubs and associations, sport, greyhound racing

Two photographs of Australian Rules Football Memorial at Moyston2 Photos of the Memorial to commemorate a Centenary of Australian Rules Football This Monument commemorates the Memory to Thomas William Wills (1835 - 1880) Picture of a man kicking a football black top white Shorts in oval frame Thomas Wills was the Founding father of Australian Rules football co-founder and Captain of the Melbourne Football Club (1859) He Was Involved in forming the Geelong Football club (1859) And Was Captain (1860) Playing As Estimated 172 games. He was captain of an early team from Richmond. He Lived at Lexington Station Moyston While playing as a child with Aboriginal Children in this Area He developed a game which he later utIlised in the Formation of Austrian Football. This Monument was unvieled by the Australian Football League Historian Colin N. Hutchinson on September 17 1988, And this tribute to the memory of Thomas Wills was made Possible by The generosity of Wsetpac Banking Corporation and Staff This Monument Commemorates the Memory of Thomas Wentworth Wils (1835 -1880) a Picture of a Man kicking a football, black long sleeve thomas wiils, afl, vfl, sport

This dictionary belonged to John Brass, an early settler in South Warrnambool. He owned several block of land and operated a lighterage business with John Young. As a lighterman and boatman he was well-known in Warrnambool. He was drowned in March 1895 while attempting to cross a temporary foot bridge across the Merri River. His house (probably in Stanley Street) was built in 1868 and remained as an interesting example of a lighterman’s cottage until1974. The dictionary probably became the property of W. Macdonald after John Brass’ death. No information has been found on this W. Macdonald. This book is of interest as it belonged to John Brass, an important early settler in South Warrnambool. This is a hard cover book of 974 pages. The cover is green with embossed patterning and lettering on the front cover and gold lettering on the spine. The book has a Preface, a Contents page, the Dictionary entries and an Appendix. There are many illustrations, from engravings on wood, scattered throughout the text. The cloth binding is coming loose and there are several loose pages. The last page is missing. The inscriptions are written in pencil and in blue ink and there are red stamps of John Brass. The cover is stained and faded. ‘John Brass, South Warrnambool, Victoria, Aust- 1893’ ‘June 5 x 6 x 93’ ‘J.Brass, Jetty’ Stamps – ‘John Brass, South Warrnambool’ ‘W.J. Macdonald, Moyston, Dec.23-11-95’ ‘W.J.McDonald’ john brass, history of south warrnambool, w. macdonald (moyston), warrnambool’s maritime history

Char-A-Banc belonging to Withers Bus Tours later Pioneer Tours and group of people in front of Sloane's & Scotchman Mining Co Poppet Head upper Main Street Stawell. Withers Tours, later named Pioneer Tours ran regular tourist buses from Melbourne to Stawell and Halls Gap area in a successful business. They later expanded to Sydney and other interstate destinations. Founder was W.A. Withers born at Moyston and became a successful businessman in Melbourne.Early 1920's open bus with a group or people (tourists) in front of Poppet Head and shaft of Sloane & Scotchmans Mine.mining, transport, tourism

Pink paper covered book by Stanley Hunter, Engineer in Charge of Boring Operations. Contents include tunnelling, deep sinking, the Chiltern Method, the Ballarat Method, Stawell, Ararat, Moyston, Raglan, Wimmera, Landsborough, Avoca, Ballarat West Leads, Berry-Moolort-Loddon Lead System, Clunes, Creswick, Bullarook Affluent, Corinella, Daylesford-Castlemaine Tributary, Majorca-Carisbrook tributary, Huntly, Coliban, Campaspe, Rutherglen., Smythesdale, Durham Lead, Tanjil, Evolution of Mining Machinery, size of claims, Definition of a Deep Lead, Discovery of Gold in Victoria, Geographical Position of Deep Leads, Water in Deep Leads, Methods of Deep Lead Mining, Cost of Deep Lead Mining, Stawell, Ararat, Moyston, Raglan, Wimmera, Landsborough, Avoca, Ballarat West, Berry, Springs Hill, Loddon Valley, Charlotte Plains, , Timor, Burn Creek, Huntly, Colinan, Goulburn, Ovens Valley, Chiltern, Indigo, Morrison's Lead, Plans include: geological Map of Stawell, ararat, Raglan and Landsborough; Kempson's Freehold Mine, Stawell; Geological Map of Beaufort, Avoca, Maryborough, Ballarat west, Berry-Moolort, Loddon, Creswick, Marong, &c; Cardigan Propriety Gold Mine; Working Miners United Gold Mine, Homebush; Hepburn Deep Lead Plan; Madame Berry West Mine; West Berry Consols Mine; Spring Hill and Central Leads; Berry Consols Extended Mine; Loddon Valley Goldfields; Chalk's No 3 Mine; Charlotte Plains Considated Mine; Duke United Mine; Geological Map of Bendigo, Huntley, Campaspe, Malmsbury, Kyneton, trentham, &c; Geological Map of Chiltern, Rutherglan, Eldorado, Beechworth, &c; Chiltern Valley Gold Mine; Wallace Chiltern Valley Consols Mine; great Southern and Chiltern Valley United Mine; great Northern extended Consols; Prentice and Southern deep Leads; Glenfine South Gold Mine; Geological map of Pitfield, Rokewood, Mt Mercer, Ballark, Meredith, &c.; McEvoy Mine; Dargo . . . . . . . . . . . . . . . . . . . . . . . mining, deep leads, squire, tools, gold panning, gold cradle, cradling, puddling, tubbing, mining shaft, shaft sinking, whip, horse whip, whim, horse whim, chalk's no. 1 mine, maryborough, mining cage, shaft, mining trucks, maryborough, washdirt, puddler, tunnelling, deep sinking, chiltern method of working, ballarat method of working, sampling washdirt. gravels, balmoral, mt william, stawell, moyston, great western, ararat, raglan, wimmera valley, landsborough, cardigan, haddon, beaufort, waterloo, avoca, lamplough, caralulup, ballarat west, ballarat, smythesdale, glenfine, illabarook, durham lead, morrison's lead, bullengarook, berry-moolort-loddon system, clunes, creswick, spring hill, bullarook, castlemaine - daylesford, majorca, carisbrook, timor, burnt creek tributary, tarnagulla, marong, rheola, inglewood, huntly, coliban, campaspe, goulburn lead system, ovens valley system, mitta mitta, kiewa valley, tarago, tanjil, moondarra, bogong, dargo high plains

Charcoal green soft covered book of 64 pages. Contents include Ballarat, berry Consols, Canadian Lead, Castlemaine-Daylesford System, Chiltern, Duke of Cornwall Mine, Dyke's Freehold, Frenchman's Lead, Garibaldi Shaft, Glenfine, Guidlford, Hepburn Estate Co., Hepburn Home Paddock, Italian Gully, Henderson's Lead, Langi Logan, Leigh Consols, Sebastopol Plateau; Talbot, Woady Yalloak, A definition of a deep lead, formation of deep leads, water in deep leads, methods of deep lead mining (Tunnelling, Deep sinking, Chiltern method of working, Ballarat method of working), sampling washdirt and gravels, Balmoral, Mt William, Stawell, Moyston, Great Western, Ararat, Raglan, Wimmera Valley, Landsborough, Cardigan, Haddon, Beaufort, Waterloo, Avoca, Lamplough, Caralulup, Ballarat West, Ballarat, Smythesdale, Glenfine, Illabarook, Durham Lead, Morrison's Lead, Bullengarook, Berry-Moolort-Loddon System, Clunes, Creswick, Spring Hill, Bullarook, Castlemaine - Daylesford, Majorca, Carisbrook, Timor, Burnt Creek Tributary, Tarnagulla, Marong, Rheola, Inglewood, Huntly, Coliban, Campaspe, Goulburn Lead System, Ovens Valley System, Mitta Mitts, Kiewa Valley, Tarago, Tanjil, Moondarra, Bogong, Dargo High Plains, glossarymining, deep leads, mines department, squire, leigh consols, chiltern, duke of cornwall mine, dyke's freehold, frenchman's lead, garibaldi shaft, glenfine, guidlford, hepburn estate co., hepburn home paddock, italian gully, henderson's lead, langi logan, sebastopol plateau, talbot, woady yalloak, tunnelling, deep sinking, chiltern method of working, ballarat method of working, sampling washdirt. gravels, balmoral, mt william, stawell, moyston, great western, ararat, raglan, wimmera valley, landsborough, cardigan, haddon, beaufort, waterloo, avoca, lamplough, caralulup, ballarat west, ballarat, smythesdale, illabarook, durham lead, morrison's lead, bullengarook, berry-moolort-loddon system, clunes, creswick, spring hill, bullarook, castlemaine - daylesford, majorca, carisbrook, timor, burnt creek tributary, tarnagulla, marong, rheola, inglewood, huntly, coliban, campaspe, goulburn lead system, ovens valley system, mitta mitta, kiewa valley, tarago, tanjil, moondarra, bogong, dargo high plains

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.