Photographs mounted on heavy cardboard for a display. (1) Nursery with 2 men, "Nursery Trade" handwritten on reverse. (2) Nursery with man and child, "Nursery Trade" handwritten on reverse. (3) Construction site with 1 man, "Landscape Design" handwritten on reverse. (4) Park with 3 men, "Parks and Gardens" handwritten on reverse. (5) Private gardennursery, men, children, parks, gardens

Strip of 5 colour photographs. (1) - (4) Group of 29 staff members seated on chairs and standing, in front of thew Student Amenities Building. (5) Jim Pleasance (Bus Driver/Maintenance, James Davis and John Patrick (Visiting Lecturer in Landscape Design) standing in front of the Science Laboratory. Identified by Peter Esdale as 1987. staff, jim pleasance, bus driver, maintenance, james davis, john patrick, visiting lecturer, landscape design, staff group 1987

'Fulling', the half-hectare property at Pitt Street, Eltham was the home of landscape designer Gordon Ford and his wife Gwen. Ford bought the property in 1948, originally part of an orchard. The garden encapsulates the major trends of Australian garden design in the second half of the 20th century. The garden design is based on mass (plants) and void (paths and pools), textures and forms. It epitomises the Eltham style because of its relaxed informality and attraction to native wildlife. The mud brick house and designed and built by Ford commenced in 1948. Several extensions were added up to 1970 and were built by Graham Rose (Source: information panel for exhibition, n.d.) Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p147 A narrow timber gate opens onto a garden that has had a huge impact on natural garden development in Australia since the 1950s.1 Fulling, the half-hectare property at Pitt St, Eltham, was the home of the landscape designer, Gordon Ford, who died in 1999. The garden ‘encapsulates the major trends of Australian garden design in the second half of the 20th century...and epitomises the Eltham style of garden’.2 It in turn, was influenced by several Victorian major landscape designers of the mid 20th century – Ellis Stones, Peter Glass and Edna Walling. The gate opens onto a sandy gravel path, one of several, which wind around dramatic pools and what appear to be natural bush, but on close inspection are carefully integrated native, indigenous and exotic plantings. Retaining walls and steps of rock through the garden link different terrace levels. Lichen-covered boulders serve as steps across a pool, leading to the triple level mud-brick house. Ford bought the property, which was originally part of an orchard, in 1948. As the son of a Presbyterian minister, Ford received a good education, which included learning Latin. This was advantageous when he worked in plant sales for the Forestry Commission, before the Second World War. In the late 1940s, however, Ford turned to building and landscape gardening. He worked on the Busst house, an early mud-brick building designed by Alistair Knox and at the same time, Ford was employed by Ellis Stones. Knox described Ford as, ‘one of the funniest men of the district. ...Rocky’s (Ellis Stones) Depression stories and Gordon’s memory and quick tongue made the jobs the most enjoyable of all those hysterical times that made Eltham the centre of the eternal laugh, between the years of 1945 and 1950’.3 Ford’s house, like so many after the war, was built progressively, as more space was needed and formerly scarce materials became available. It began with an army-shed of timber-lined walls, now used as the kitchen. Ford then built what is now the lounge room, and the house grew ‘like topsy and on a shoestring,’ says his widow Gwen. A lot of second-hand materials such as window frames were used, a style made famous particularly with their extensive use at Montsalvat, the Eltham Artists’ Colony. The house was constructed as a joint venture with friends, including artist Clifton Pugh, who built Ford’s bedroom for £10. The polished floorboards and solomite (compressed straw) ceilings, interspersed with heavy beams, exude warmth. The result is a home of snug spaces, with soft light and garden vistas. Several other mud-brick buildings were constructed as needed, including a studio and units for bed-and-breakfast clients. The garden, which has been part of the Open Garden Scheme since the mid 1980s, is based on a balance of mass (plants) and void (paths and pools), textures and forms. It epitomises the Eltham style because of its relaxed informal ethos and attracts native animals. Wattlebirds, scrub wrens, pardalotes, currawongs, owls and even kangaroos, have been seen at Fulling. Gwen, a former English teacher who has worked on the garden since around 1970, urged and helped Ford write his book, The Natural Australian Garden.4 Several of Ford’s favourite trees are in the garden, including the native Casuarina or She-Oak. In spring, the garden is dusted with the purple Orthrosanthus multiflorus or blue native irises and rings with the calls of birds attracted to plants like the callistemons, correas and grevilleas.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, fulling, gordon ford garden, pitt street, eltham mud brick buildings, mud brick house

Graham Masters is a potter based at Sweenies Creek, just outside Bendigo, Victoria who specialises in a patented technique of low relief stoneware depicting Australian animals and landscapes. He obtained a Diploma of Art and Design in Ceramics from the Bendigo Institute of Technology in 1973, then operated a pottery for a year in Bendigo, before becoming an employee, then a partner at Maldon Pottery, Victoria with Neville Wilson and Thomas Metcalf. He left Maldon to set up his own pottery at Sweenies Creek in 1984. (1.) (Judith Pearce). Built in 1869, the (former) Strathfieldsaye Shire Hall is one of The City of Bendigo's earliest surviving public buildings. Designed by George Steane and built by George Pallett in 1869 the Strathfieldsaye Shire Hall has aesthetic significance as a purpose built Shire Hall designed in the Free Classical manner. It is also of importance as an early example of the novel system of cavity wall construction. The building is largely intact and unaltered. Other important elements include the arched portico of the main entrance with brick arched features on either side; the brick quoining and dressings to the round arch windows; the three gabled roof; and the matching chimneys that reinforce the symmetrical design. The Hall has social significance as a temporary schooling facility in the 1870s and as a flood refuge in 1889. The Strathfieldsaye Shire Hall is a brick building designed in the Free Classical manner. This style was favoured by the Public Works Department for a number of public buildings including Shire Halls and courthouses. The form includes a central taller volume flanked by matching smaller gables. In the case of the Shire Hall these would be occupied by the Shire Secretary and Shire Engineer whilst the larger volume was the council chamber. The portico at the front is designed with a flat arch in the centre and matching smaller arches each side. The face red brick is unadorned apart from a plain string course at the roof springing point, brick quoining and dressings to the round arch windows. There are matching chimneys that are located to reinforce the symmetrical design and the original roof is believed to have been slate but is now corrugated iron. Large wheel thrown ceramic platter with a shallow well, broad flaring ledge and raised on a high foot rim. Rim decorated with slab rolled gum trees protruding on centre left and right sides of plater. which reflect the low relief image of trees and the Strathfieldsaye Shire Hall on the surface of the plate. Glazed with golden brown and cream. Front centre top; 'Shire of Strathfieldsaye'. Front lower centre '1866 - 1991 - 125 Years'. Signed 'G Master / 1991' on rim centre right. Reverse; signed 'G Master' / 1991. Bendigo Pottery stamp.shire of strathfieldsaye, bendigo pottery

Watercolour by Lin Ditchfield of the Royal Blind Society of New South Wales (formerly the Sydney Industrial Blind Institution) in William Street, Sydney. Built in 1880, the Edmund Blacket designed building was eventually sold in 1971. Located on the corner of William Street and Boomerang Place, the site was keenly sought by developers as the city landscape transformed into high rise office builidings, as evidenced in the background of this painting.1 water colour in beige frameLin Ditchfield 1971royal blind society of new south wales, lin ditchfield

Collection of negatives with instructions for developing. Probably belonged to Stuart Miller (Staff). Some scanned. 1-4,17,18,22,31 Student outside class, 5-8 Oak Lawn, 9-11. Students working in the Orchard, 13,19,20 Students in the Nursery, 14-16 James Hitchmough Grasslands, 21,24,25 Students inside class, 23. Garden view, 26. John Delpratt and his Grassland Project, 27-30. Administration Building, Order list attached dated 08.04.99stuart miller, staff, john delpratt, grassland project, students inside class, laboratory, landscape design, nursery, potting in nursery, trees in suburbs, students outside class, herb garden, administration building, plants

Various plans. (1) Photocopy of Section A-A, 1985 and 1 photocopy of part of plan. (2) Tracing paper copy, Construction Plan Classroom/Library Quadrangle Feb. 1986. (3) Master Plan, coloured and detailed and 1 copy not detailed, Classroom Quadrangle Landscape Redevelopment by S. Mullany, 10 August 1988. (4) 4 tracing paper and 2 paper copies Set of Plans Library Courtyard Aug 1992 by KW. (5) Miscellaneous sketches. (6) Assessment task. (7) Sketch Proposal Quad Entry by M. Green May 1995. (8) Quadrangle Steps Redevelopment 7/12/99 by Phil Tulk. (9) Tracing paper and paper copies Quadrangle Steps Redevelopment by JK 20.12.99.classroom, library, courtyard, steve mullany, quadrangle, landscape design, steps

(1) Tracing paper and paper plans, Preliminary Landscape Plan by Steve Mullany, Lecturer Amenity Horticulture Dept. V.C.A.H. Burnley, Sheet 1 of 1 May 2, 1988. (2) 1 tracing paper and 2 paper copies State Schools' Nursery: Proposed Landscape Working Drawing Energy Education Centre Burnley by E.A.H. June 1988. (3) 2 copies State Schools' Nursery: Proposed Landscape Working Drawing Energy Education Centre Burnley, by EAH 18 June 1988 (Details). (4) 2 copies as (3) Pond Plans & Details 16 June 1988. (5.) Designs for small plans of above.vcah, steve mullany, state schools nursery, landscape design, energy education centre burnley

Various plans for what is now known as the "Citriodora Courtyard." I copy tracing paper, 1 coloured original, 4 copies with additional notation 6 smaller copies with additional notation. (1) Planting Plan Plant Science Area V.C.A.H. Burnley designed by J. Hitchmough, drawn by S. Mullany 3 October 1988. (2) Student Amenity Quad Sketch Proposal by M. Green May '95. (3) Rough pencil design, New Design related to Horticultural pursuits of Burnley College. (4) Coloured, Proposed Citriodora Court Redevelopment. (5) 2 copies Citriodora Courtyard Presentation Concept Plan by Adrian Bonifacio. November 2000. (6) Landscape Graphics II Assoc. Diploma in Horticulture (Amenity) Assignment 2 - Planting Plan May 1988. (7) Laminated, Preliminary Plan 2 of 4 Citriodora Lawn Burnley by Kate Szmal B.A.S.H. (8) Laminated, Preliminary Plan Student Amenity Building Courtyard V.C.A.H. Burnley by Caroline Lodge. (9) 1 tracing paper and 1 paper copy University of Melbourne Burnley College Student Amenity Building Courtyard 19.8.99. (10) Setout Plan, Planting Plan & Surface Finishes, Details Courtyard & Entrance, ACM Landscape Architecture: Concrete Paving Topsoil, Mulch - notes. "Phil Tulk," handwritten on reverse. (11) Laminated, V.C.A.H. Preliminary Plan p3 of 5 Project No 1 Student Amenity Building Courtyard by K. Watson 15-8-95. (12) Citriodora Courtyard Redevelopment Concept Plan by Judy Brookes November 2000. 2 copies of Drawing 1 of 2, 1 copy Drawing 2 of 2. (13) Proposed Outdoor Eating Area Student Amenities Block: Scheme 1 pp 2-5 of 5, 16.10.96. Scheme 2 pp 3-5 of 5, 16.10.96. Scheme 8 3 copies p1 of 2, 2 copies p2 of 2, 23.6.97, Paving Types p1 of 1, 30.9.99, handwritten on reverse,"to Phil from Nicki." (14) 2 copies Entry from Rear Car Park Paving Plan. (15) Plan by Margaret Kitching 8.8.90. citriodora courtyard, vcah, centenary courtyard, plant science area, k. watson, s. mullaney, j. hitchmough, judy brookes, kate szmal