Tag Archives: Strahan

Nearing and then on the Lyell Highway

The pastures continued lush and green.

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You can see a short stretch of the Derwent River in the second photo and the township of Gretna (the destination for this stage) is located on the hill above.

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Massive log trucks, taking their pickings to market from our pristine wilderness forests, roared past me.

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Before long the Lyell Highway, which connects Hobart to the west coast mining towns of Queenstown, Zeehan, Strahan and Rosebery, appeared in view.

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I turned left towards the township of Gretna (which, I note was not listed on any of the signs in the vicinity of this intersection). A few isolated properties, of various vintages, edged the highway.

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Each step took me closer to my destination for the day.

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Then the Derwent River came back into view as it snaked its way beneath Gretna.

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The sign indicating only 500 metres to the Gretna Green Hotel brought on the thought of a long cold drink and filled me with excitement.

Water Treatment Plant

I continued on from Atherfield House and, after passing the Glenfern Rd turn off, I walked westwards until a clearing gave me unexpected access to the river and a full view of a heavy building on the other side. I have not been able to determine the function of this stand-alone structure, however I suspect the building somehow connects with structures soon encountered on my side of the river further along.

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On the non-river side of the road some acres had been circled with high protective fences.

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This was Bryn Estyn, a Water Treatment Plant.

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I wondered if I was dreaming; were the two golden projections on top of the building simulated sheep?

Fences and limited or non-existent river access were the most memorable features of my walk. A good example of these barriers is shown below.

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In the photo above you can see the Lyell Highway on the other side of the river. This road sits close to the river for many kilometres then turns inland away as it wends its way to Tasmania’s west coast towns of Queenstown, Strahan, Zeehan and Rosebery – via Derwent Bridge at Lake St Clair.

Piguenit – artist extraordinaire in southern Tasmania

The 19th century lady who wrote her story of a walk from Trial Harbour to Ouse (refer https://walkingthederwent.com/2015/06/20/a-story-of-a-walk-in-19th-century-tasmania/) mentioned Tasmanian artist William Charles Piguenit in her record of the events.

‘… had our first near view of the various peaks of the West Coast Range. From here we kept on rising till we reached the Government hut, 1,500 ft above and 15 miles from Strahan.  Here the first of a series of magnificent views met our eyes; beneath us lay a deep valley, forest clad for miles, and beyond, stretching as far away as the eye could reach, lay the range, its rugged peaks standing out sharply against the sky.

How it makes one long for the brush of a ready painter, to be able to place on canvas at least something to keep one’s mind fresh with the remembrance of all this beauty. Mr Piguenit is, I believe, the only artist who has devoted his time and labour to this district, and the results of his work are to be seen in the pictures now hanging in the Art Gallery of the Hobart Museum, and certainly the next best thing to visiting the West Coast is to see Mr Piguenit’s pictures of different scenes in that region.’

The collection of the Tasmanian Museum and Art Gallery (TMAG) contains a substantial number of his oil paintings.  Years ago I was employed by TMAG as an attendant and stationed in the upstairs ‘colonial’ gallery where the 19th century paintings were hung adjacent to marble sculptures and rare examples of early Tasmanian wood furniture. Back then I was a student of art history, and the establishment deemed me to be the expert amongst their collection of gallery attendants. They felt sure I would be able to help any visitor with enquiries about the collection on show.  One whole end of that 19th century gallery space was devoted to the work of Piguenit.  With much time on my hands to study each work of art, I fell in love with his dramatic descriptions of remote Tasmanian wilderness. But most surprising was that many of the very large oils, surrounded by beautiful carved frames, were compositions of the landscape in many gradations of grey when Piguenit had only chosen to use black and white paint.  Gloriously glossy. Unexpectedly stunning.  Tasmania’s inland environment had never been seen by most people (and still hasn’t been).

It was a surprise to me that I can only find online reproductions of these great paintings in a TMAG published catalogue raisonne of the work of William Charles Piguenit (http://www.tmag.tas.gov.au/__data/assets/pdf_file/0017/73142/piguenit_catalogue.pdf). Unfortunately, the document is incomplete and the images are very poorly reproduced – this booklet does the artist a great disservice. When faced with the paintings, the oils are truly majestic and have a similar power to mountainous work by artists such as Eugen von Guerard, Casper David Friedrich, and those from the Hudson River School such as Frederick Edwin Church.

The collection of the Art Gallery of New South Wales in Sydney holds some of his work including the following paintings (in coloured oils) which show aspects of Lake St Clair (the source of the Derwent River and the goal of my walk).

Mount Ida, Lake St Clair, Tasmania c1881

AGNSW Mount Ida Lake St Clair Tasmaniac1881

Mount Olympus, Lake St Clair, Tasmania, the source of the Derwent 1875

AGNSW Mount Olympus Lake St Clair Tasmania the source of the Derwent 1875