Photograph (mounted) of nine men outside the Beech Forest Butter Factory, with crates of butter.Beech Forest Butter Factory Company, Limited, Standing, from left: W Peddle (Assistant), H Black (Assistant), J H Condon (Director), F L Lancashire (Director), W Harrison (Director), Seated, from left: A J Athorn (Manager), S G Clapham (Secretary), H M Hall (Managing Director), C Farrell (Director).agriculture, dairy, directors, management, beech-forest-butter-factory, w-peddle, a-j-athorn, h-black, s-g-clapham, j-h-condon, f-l lancashire, h-m-hall, c-farrell, w-harrison

Railway systems have methods by which trains can proceed in safety from station to station, free from the risk of collision with other trains. These methods are generally known as "Safeworking" and they particularly apply to trains on single lines where trains run in opposite directions. The stations between these two sections are called crossing stations. A "Train Staff", a thick, round metal rod, bearing the name of the two stations is issued and these places are designated as Train Staff stations. No train is permitted to proceed through the section unless the train driver either takes the staff for the section into his possession or personally sights the staff. (Note that every station on the line is not a crossing station. These roles were performed at Barongarook, Gellibrand, Banool, Beech Forest, Wyelangta, Weeaproinah and Crowes.) Except for the period 1927-1939 when Train Section Orders were applied instead, due to declining business Train Staff and Ticket working was used throughout on the line.B/W. Driver Bill Brady holding the Train Staff in the cabin of Garratt locomotive G42, at Weeaproinah 1961 railways, bill brady, train driver, weeaproinah, train staff

This booklet has been collated by a committee of Otway Ranges residents in 1989. It contains historical information on 32 pioneer families in the Otways region. The material has been provided by the members of the families. This book is of interest as it contains short histories of some pioneer families in the Otway Ranges and will therefore be of particular use to historians.This is a soft-cover booklet of 35 pages. It is bound with metal staples. The booklet has a yellow cover with black printing. The booklet contains details on the lives of some Otway Ranges pioneer families and has been typed and produced by a local committee.otway ranges, victoria, pioneers of the otway ranges

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.‘Crystal Brook, in the Cape Otway Ranges’ : Views of Victoria (General Series) No.53 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: 'The subject of the present illustration was discovered by one of our operators exploring the Cape in search of scenery. It is situated about four miles from the coast, and is surrounded by dense foliage on the one side, and rocky boulders on the other. This spot being unknown to the settlers, the title we have given to it is highly suggestive of such a romantic and secluded spot.'nicholas caire (1837-1918), landscape photography

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.‘Straus’ Falls, Cape Otway Ranges’ : Views of Victoria (General Series) No.55 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘These Falls were discovered some time since by a gentleman named Straus, and were so named in memory of him. They comprise a succession of falls, rapids, and cataracts varying from 10 feet to 60 feet, making a total of 250 feet from the fall to the bed of the stream. These waters probably form a tributary to one of the adjacent rivers.’nicholas caire (1837-1918), landscape photography

Waa Waa – Crow Feathers is a painting from Aunty Marlene Gilson’s 2022 exhibition ‘Bunjil Wour Kun Ya – Spirit of My Ancestors’. This work tells the story of Waa-Waa, the first Wadawurrung to see a white man, Matthew Flinders and his crew surveying the southern Australian coastline near the You Yangs on 1 May 1802. Speaking to Wyndham Art Gallery’s curatorial framework themes of Foregrounding, Habitat and Localism, the work portrays in Wadawurrung lore the first sighting of a European and acknowledges Australian First Nations peoples original and ongoing connections with land, history, politics and knowledges of place. The scene is overlooking the You Yangs which is deeply connected with the local place and habitat of the Werribee Plain. Aunty Marlene Gilson is a Wathaurung (Wadawarrung) Elder living on country in Gordon, near Ballarat. Marlene Gilson’s multi-figure paintings work to overturn the colonial grasp on the past by reclaiming and re-contextualising the representation of historical events. Learning her Wathaurung history from her grandmother, Gilson began painting while recovering from an illness. The artist’s meticulously rendered works display a narrative richness and theatrical quality akin to the traditional genre of history painting. Gilson, however, privileges those stories relating to her ancestral land, which covers Ballarat, Werribee, Geelong, Skipton and the Otway Ranges in Victoria. Often including her two totems, Bunjil the Eagle and Waa the Crow, Gilson’s paintings not only reconfigure historical narratives, but display her spiritual connection to Country. australian first nations art, cultural story, australian painting, wathaurung, female artist

BENWERRIN COAL COMPANY SKIP This quarter ton coal truck or skip was used at a small mine situated at Benwerrin near Deans Marsh in Victoria’s Otway Ranges. The mine first opened in 1899 and closed in 1904. With the fuel shortages due to World War 2, the Benwerrin Coal Company reopened the mine in 1941. The coal was loaded into skips and winched out of Box’s Creek valley on a narrow gauge incline to a loading point that was close to the Deans Marsh-Lorne Road. It was then taken by road to the Deans Marsh Railway station. The average gradient of the tramway was 1 in 4 over a length of just under 500 metres (1600 feet). The gauge of the tramway has often been referred to as 375mm (or 15 inches) as shown on the map opposite taken from “Sawdust and Steam”. However, actual measurements of the wheels show the gauge to be 400mm (or 16 inches), which is quite unusual as is the small size of the skip itself. The mine produced up to 30 tonnes of brown coal each week until it closed in 1949 and the incline tramway and its skips were abandoned. Preservation of this coal truck came as a result of interest by the Tramway Museum Society of Victoria (TMSV) in the Barlow or Box type rails that it ran on. These rails had originally come from the Beaumaris Horse Tramway and were obtained by the Benwerrin Coal Company from Hayden Bros’ abandoned timber tramway at nearby Barwon Downs. Members of the TMSV visited the mine in the 1960s only to find that most of the tramway had recently been recovered for scrap. There remained a significant number of relics around the mine adits including most of the skips. One of these remained in good condition and it was recovered for preservation in May 1967. It was restored but never displayed and a second restoration took place by the author over 2012/13 so that it could be placed in the Menzies Creek Museum where it was delivered in February 2013. Little remains of the mine today with trestles and sleepers destroyed in the “Ash Wednesday” Bushfires in 1983. References: Houghton, N (1975), Sawdust and Steam, Light Railway Research Society of Australia. Historic - Industrial Narrow Gauge Railway - Benwerrin Coal Company , Benwerrin , Victoria, AustraliaCoal Skip - made of Iron sheet and wrought iron frame & wheelsB,C.Co Melbournepuffing billy, coal skip, benwerrin coal company, narrow gauge

This medal was made by Stokes and Martin. Thomas Stokes established a medal-making business in Melbourne in 1856 and from 1867 to 1893 he had a partner, George Frederick Martin. In 1962 the Stokes business became a public company and operates today in Melbourne. The medal was awarded at the Annual Show of the Villiers and Heytesbury Agricultural Association in 1877. One of the earliest agricultural associations in Victoria, the V.& H.A.A., the forerunner of the Warrnambool Agricultural Society, was established in 1854 and the first Warrnambool Show was held in 1855 at the first Royal Archer Hotel in Koroit Street. The Warrnambool Agricultural Show is still held annually. The medal, first prize for the best horse hay rake, was awarded in 1877 to the brothers, Thomas and William Rutledge, sons of Eliza and William Rutledge. The latter was a pioneer settler who came to the Warrnambool/Port Fairy district as the purchaser of the Special Survey, Farnham Park in 1841. His land stretched from Tower Hill to Dennington. William Rutledge Senior was a pioneer breeder of a Lincoln sheep stud, the owner of a mercantile business in Port Fairy, a member of the Legislative Council of Victoria and the pioneer developer of farming land around Tower Hill. His son Thomas (1846-1918) was a Warrnambool Shire Councillor who farmed in the Farnham Survey, living at Werronggurt . He went to the Geelong area at the end of the 19th century. His brother William (1849-1935) also farmed in the Farnham Survey, living at Farnham Park, He later lived at Airlie in Henna Street, Warrnambool and Sherwood on the Hopkins River and had land in the Otway Ranges. He later went to New Zealand.This medal is of considerable significance because of its age and its association with Thomas and William Rutledge and with the Villiers and Heytesbury Agricultural Association.This is a bronze medal with an image of agricultural implements, agricultural produce and farm animals on one side and etched printing on the other side. There is also printing around the edge of the medal. The medal has a small hole at the top for attaching the medal to a cord. Villiers & Heytesbury Agricultural Association 1st Prize awarded to Rutledge Bro. for Horse Hay Rake Annual Show Warrnambool 10 Oct. 1877 Stokes & Martin Melbourne thomas and william rutledge, farnham special survey, villiers and heytesbury agricultural association, warrnambool agricultural society, history of warrnambool

An information brochure on where to see tall trees, Forest Giants, in Victoria, including Marysville, that was published in January, 1938.An information brochure on where to see tall trees, Forest Giants, in Victoria, including Marysville, that was published in January, 1938.Victorian Railways Print January, 1938 469-38 Stamp of Victorian/ Government Tourist Bureau/ 272 Collins Street/ Melbourne C.1victoria, australia, victorian government tourist bureau, betterment and publicity board, victorian railways, white mountain ash, red mountain ash, messmate, blue gum, mountain ash, cumberland valley, marysville, mount monda, healesville, acheron way, alpine highway, omeo, baw baws, strzelecki ranges, otway ranges, warburton, yarra junction, noojee, bulga and tarra valley park, yarram, turton's pass, otway forest, beech forest, apollo bay, information brochure, brochure

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A letter written to Maurice Keppel by John William Lindt in 1903.A letter written to Maurice Keppel by John William Lindt in 1903. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913. Maurice Keppel, from Ireland, was one of the first landholders in the newly surveyed town of Marysville in 1864. He and his wife ran the successful Keppel’s Australian Hotel. Two of their sons, John and Jerry, established a farm and opened up the surrounding high country. The Keppel lease was one of the longest held in the high country and the Keppel Family were amongst Marysville's pioneering families.maurice keppel, keppel family, keppel's australian hotel, marysville, victoria, john william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

The CD-Rom includes a range of electronic correspondence sent 'Big Cats Victoria and Simon Townsend and JohnTurner. Their website states: Big Cats Victoria Southern Australia, including south western West Australia, has a history of reports of ‘panther’ like predators dating back to the later half of the 19th century. The animals were usually described as being of black or tan colouration and with the proportions of a medium sized big-cat such as a Leopard or Puma. The records can be found in newspaper, radio and television archives, Government reports, a very few books and on the internet. The historical material is based on anecdotal reportage and has contributed to the mythification of the subject. Some Government agencies at both State and Local levels (in New South Wales), have collected records of sightings or investigated stock deaths purported to be associated with so called ‘panther’ kills. They remain understandably non committal due to the lack of a specimen of such a predator of undeniable authenticity. While other types of unknown predator have been reported in various parts of Australia they are not the concern of this website. For purposes of economy we, John Turner and Simon Townsend, confine our investigations to western Victoria and south eastern South Australia. (http://bigcatsvic.com.au/) A CD-ROM of multiple emails and image attachments relating to assorted sightings, footprints, killings, etc from big cats in the Otways of Victoria. The electronic mail was sent to 'Big Cats Victoria' Images include: This item is part of the Australian Animal Folklore Collectionaustralian animal folklore collection, ja sharp, simon townsend, neville bayley, st kilda, peter stefanis, toolangi, puma, tom daniel, footprint, pawprint, cryptozoology, rex gilroy, lancefield tiger, anglesea, berringa, matthew charles, jutin fitzclarence, harry carlin, patty smith, johannes beach, nerida, stirling ranges, daryl hardy, brook kelly, carl rose, ashley hall, jonathan smith, sally ballieu, lorraine balck, wayne bower, ian riordon, aleda turna, john turner, dave moyle, ben rayner, stewart leach, colin boord, sheryl mahoney, beech forest, otways, tooborac, geoff black, panther, brad blake, priscilla prescott, beau kapitiany, ramsay hosn, clare jones, darren guthrie, tallarook, josh fairway, linda wescon, lithgow, john turner, southern grampians

This water standpipe is believed to be the only one of its kind in working order. It was originally located in Warrnambool, on the hillside at the corner of Mickle Crescent and Banyan Street, providing water for the Chinese Market Gardens below, on the flats. It was removed from this location on May 2nd, 1979, with the intention to relocate it at the new Flagstaff Hill Maritime Museum & Village. The standpipe lay in storage for years until the Warrnambool Company, Chemblast, offered to restore it for use as a working display. The display was officially opened on March 31, 2014. The water from the adjacent lake is drawn out with a hand operated water pump, and goes up into the standpipe, where flows through the canvas hose and into the top of the Furphy Farm Water Cart. The display is a visual acknowledgement of the years served by Flagstaff Hill volunteer and Friends of Flagstaff Hill Chairperson, Bob Crossman. Warrnambool’s early settlers had no water supply prior to the mid-1850s. They relied on rain water tanks, domestic wells and springs. The town experienced a huge, destructive fire in William Bateman Jnr. & Co.’s large produce store in November 1856, which highlighted the need for both a fire brigade and a good supply of water. In 1863 a volunteer fire brigade was established. In August 1880 the town celebrated the installation of its first water standpipe on the corner of Liebig and Timor streets. The water was pumped from springs at Cannon Hill through the connected pipeline to the standpipe, then distributed to households via horse and cart. Each of the licenced cart drivers were compelled by Council regulations to keep their carts full from sunset to sunrise, ready to cart water to outbreaks of fire. They received a fee for this service. In 1893 the town installed a water supply, sourced from the Merri River, stored in a reservoir basin and tower in north Liebig Street, and distributed throughout the town in a system of pipes. By late 1939 a reticulated supply was installed, with the water piped in under the Otway Scheme. Standpipes are still used in modern times in rural and remote areas for homes, farms, stock, agriculture and firefighting. Many commercial or government owned standpipes are metered, charging a fee for the quantities of water supplied. This water standpipe was made by Langlands Foundry Co. Limited, Melbourne, which was establish in 1842. It was Melbourne’s first foundry and iron shipbuilder, and one of the largest employers in Victoria at the time. Langlands was known for its high quality workmanship and wide range of goods for mining, engineering, marine, railway and other industrial uses. The company made the first cast bell, the first lamp posts in the colony, and the boiler for the first Australian train. In the 1860s it produced cast iron pipes for the Board of Works, which laid the pipes for Melbourne’s first reticulated water supply. The firm was bought by Austral Otis Co. in 1897.This water standpipe is significant historically as it is believed to be the only one of its type in working condition. The standpipe is significant for being manufactured by early colonial firm Langlands Foundry of Melbourne, which was known for high quality, cast iron products. The firm made the boiler for the first Australian train, assembled the first Australian paddle steamer and made the first Australian cast bell and lamp posts. Langlands was one of the largest employers in Victoria at the time. The standpipe is significant historically as it represents the evolution of water supply services in Australia. Standpipe; vertical cast iron water pipe, painted crimson, fixed in position, tapering inward from the round base to the rectangular joint near the finial on top. A hexagonal pipe extends at right angles from the joint, with an outlet fitting and flow-controlling wheel on the end. A length of canvas hose hangs from the outlet fitting. Inscriptions are on one face of the joint. The standpipe was made by Langlands Foundry Company of Melbourne. Embossed “LANGLANDS FOUNDRY CO. / LIMITED / ENGINEERS / MELBOURNE”warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, flagstaff hill, standpipe, stand-pipe, water standpipe, fire standpipe, firefighting equipment, water supply equipment, chinese market gardens, banyan street, liebig street, water tower, bateman’s fire, working display, water supply, town water, rural water, reticulated water, cannon hill spring, merri river, otway water, water carters, horse and cart water supply, volunteer fire brigade, langlands foundry, early melbourne, iron works, bob crossman, late 19th century water supply

After various railways into the Otways were proposedfour separate lines were built, a crucial ingredient of the timber industry. It eventually expanded to become of the Victoria's largest.Railways of the Otways. Nick Anchen. Sierra Publishing; Ferntree Gully (Vic); 2011. ii, 96p.; illus, maps. Soft cover. ISBN 978 0 9807640 0 0.railways of the otway ranges; nick anchen; history; railways; otways; otway ranges; logging railroads; railroads, industrial;

The Otways area of Victoria, at the time of writing, was an underused area for bushwalking. In the past, people have considered these ranges unsuited for walking because of the thick forest cover, cold and muddy conditions for much of the year, and the steep slopes. Some of the perceived difficulties are actually attractions and that it is possible to enjoy them with a forward planning and up-to-date information to guide the walker.The Geelong Bushwalking Club have included some useful but brief articles on basic aspects of bushwalking.Walking the Otways. Track notes compiled by the Geelong Bushwalking Club. Graeme Allen (ed.); John Van Gemert (maps, photographs). 1st ed. Geelong Bushwalking Club; Geelong (Vic); November 1986. 148 p.; illus, maps. Soft cover.otways; bushwalking;

This book is the remarkable story of the world's tallest tree species, the Redwood, growing in the Great Otway National Park in Victoria's south-west. It was originally planted by Victorian foresters for experimental purposes on land abandoned by the early settlers. The Coast Redwood, native of California, is now thrives in the Otways alongside the famous eucalypt, the towering Mountain Ash. The majestic Otway Redwoods, still in their youthful growth phase, have withstood adversity caused by fire, landslide, lighting and chainsaws, while the ongoing political debate about the conservation of the valuable forest resources continues.The redwoods of the Otway Ranges. Roger B. Smith. Lothian Custom Publishing; Middle Park (Vic); 2015. ii, 202 p.; illus., maps, appendices, notes. IBSN 978 1 921737 13 8. Soft cover.With best wishes from Roger Smith.

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.‘The Erskine River waterfall’ : Views of Victoria (General Series) No.52 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘The River Erskine, which empties itself into Loutitt Bay, is noted for the grandeur of its scenery. Its sources, owing to the impenetrability of the bush and the mountainous nature of the country, are unknown. They may eventually be traced a long way into the Cape Otway Ranges. An idea of the difficulty with which the present very beautiful illustration was obtained may be gained from the fact that it took our assistants, several days to convey the apparatus a distance of six miles and back. The depth of the fall is 150 feet. The foliage as seen comprises the very rare staghorn tree, the myrtle, the dogwood tree, and ferns.’nicholas caire (1837-1918), lorne (vic), erskine river (vic), landscape photography

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.‘Mount St. George, Addis Bay’ : Views of Victoria (General Series) No.56 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘Addis Bay is situated to the north-east of Appollo Bay, and very near Cape Patten. This mountain is 6,000 feet high, and commands one of the finest views on the Cape Otway Ranges. The ascent is a somewhat difficult one, but visitors to this locality not unfrequently make this a favourite outing.’nicholas caire (1837-1918), landscape photography

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.‘Township of Lorne, and Loutitt Bay’ : Views of Victoria (General Series) No.60 : Albumen silver photograph | Photo on card with Title and Description on reverse | Mounted 24 x 30 cm; Photo 12 x 17 cm.On Reverse: ‘Loutitt Bay is fast becoming one of the most fashionable Watering-places in Victoria, partly from its easy access by Rail, combined with the magnificent scenery to be found in the Cape Otway Ranges, and the very moderate charges of the houses of accommodation. The large house near the foreground is that of Mr. Mountjoy, which is a Restaurant. Duncan’s Hotel can be seen in the distance, on the brow of the hill.’nicholas caire (1837-1918), lorne (vic), duncan's hotel, loutitt bay, landscape photography - victoria

ill, maps, p.16.non-fictionA brief history of the Otway Ridge in Victoria including its railways.railroad construction - victoria - history, logging railroads - victoria - otway range - history

ill, maps, p.96.non-fictionA pictorial history of railways in the Victorian Otway Ranges including the Victorian Railways lines to Wensleydale, Forrest and Timboon as well as the 2'6" narrow gauge railway to Crowes.railroad construction - victoria - history, logging railroads - victoria - otway range - history

index, ill, maps, p.262.non-fictionAn history of the rail stations on the Victorian Railways lines in the Colac Otway Shire including the lines to Forrest, Alvie, Cressy and the 2'6" narrow gauge railway to Crowes.railroad construction - victoria - history, logging railroads - victoria - otway range - history

ill, maps, p.16.non-fictionA brief historical guide to the West Otway Ridge in Victoria including its railways.railroad construction - victoria - history, logging railroads - victoria - otway range - history

index, ill, maps, p.102.non-fictionA history of the railways and tramways of the eastern Otway Ranges in South Western Victoria.timber tramways - australia - history, narrow gauge railroads - australia - history