This suit was tailor-made for Latvian dancer, choreographer and dance teacher Vija Vetra, who lived at the Old Hall, 93-95 Bay Street, Brighton and ran a dance academy at 97 Bay Street during the late 1950s and early 1960s. Born in Riga, Latvia in 1923, at the age of sixteen Vija ran away from home in order to study classical, character and modern dance at the Vienna Academy of Music and Performing Arts. She spent several years performing on European stages. When Latvia was annexed by the Soviet Union in 1944, more than 100,000 Latvians fled, seeking refuge in neighbouring countries. Vija's sister, mother and aunt were among them, managing to join her in Vienna. The following year, all four had to flee again when the Soviets moved into Austria. Escaping to Bavaria, they spent three years in displaced person camps before emigrating to Sydney as refugees in 1948. Vija found success as a dancer in Sydney. She toured Australia and New Zealand with the Bodenwieser Ballet, formed a Latvian folk dancing group and established a dancing school. By the mid-1950s she had gained recognition as a recitalist in her own right. She developed a passion for Indian classical dance. In the late 1950s she moved to Victoria. She opened a dance school in Bay Street, Brighton, while continuing to perform on stage in productions such as the musical 'Kismet' and the ballet 'Corroboree'. In 1959 she starred in the four-part live ABC television program 'Music and Dance'. She left Australia in 1964 for a tour of the United States and Canada, ultimately settling in New York City. Interviewed in the 'ABC Weekly' in 1957, Vetra described her taste in clothing as minimalist, saying she preferred to own as few clothes as possible to save the trouble of deciding what to wear: "And no bows or extravagances, but always a simple line."Two-piece women's suit made of maroon corded silk; comprising fitted jacket (.1) and straight skirt (.2). Jacket fastens with one large black faceted glass button. Jacket lined with pink satin; skirt unlined. vija vetra, migration, brighton, refugee, dancer, 1940s

Melton South "The establishment of a settlement of Melton South was induced by the opening of the railway in 1884. This subsequently prompted a number of industries, initially sawmills, and in the early twentieth century, chaff mills. This development coincided with the Exford ‘Closer Settlement’ estate at the beginning of the new century, boosting local population and produce, and the development of the chaff industry which employed many people in the Melton area. (Around 1912 the government had brought out English migrants to settle the Exford estate.) By c.1912 the small Melton Railway Station settlement had a boarding house (probably for chaff or sawmill employees), store, a small church and a hall. The Melton Valley Golf Club originated near the railway station in 1927 (in 1931 it moved to the present Melton links). In 1910 the community had built the large timber ‘Victoria Hall’, which became the focus of community life for several generations. In August of that same year AR Robertson MP and D McDonald applied for the establishment of a school on land set aside for that purpose by the Closer Settlement Board, near the Melton Railway Station settlement. District Inspector McRae recommended that a school for classes up to Grade 3 be established as an adjunct to the Melton State School. And so SS3717, ‘Melton Railway School’, was established in the leased Victoria Hall on 1st December 1911. Thomas Lang, head master at Melton since 1896, was in charge of both schools. As a ‘prep’ school only, it was necessary that the older Melton Railway Station settlement students travel to Melton SS430 at Unitt Street. Since 1912 local residents had been petitioning for the establishment of a separate school at Melton Railway Station on the grounds that it would be better if all children from the one home could attend the same school, and that the Victoria Hall was unsuitable as a school building. As a result an area of 2 acres - Allotment 8, Parish of Djerriwarrh, Exford Estate - was reserved for a State School on 4th March 1914. However the Department wrote that a school would not be established there in the near future, as ‘there is no likelihood in sight that the Railway Station settlement will increase in importance’. Parents persisted with their petitions to the Education Department, claiming that the Victoria Hall was too large, had no fireplace, that teachers were unable to use the wall for teaching aids, and that, being less than 20 metres away from a chaff mill employing 30 men, was too noisy. The turning point came when in 1920 the Hall Committee decided to increase its rent for the hall. In 1920 Head Teacher Lang advised the Education Department to discontinue SS3717 as an adjunct. The District Inspector supported this recommendation, and the schools separated in 1923. In April of that year 41 children, comprising Grades 1-8, moved into an almost completed brick building on the present site. On the 6th July 1923 the official opening of the school took place; after a ceremonial journey from the Hall to the school, speeches were given by the Hon AR Robertson and the Chief Inspector of Education. Everyone then journeyed back to Victoria Hall for a ‘bountiful repast’. (These dates are at odds with the date of 5th March 1925 given in Blake as the date the children occupied the new SS3717 brick school building. ) A teacher’s residence had been purchased for ₤500 in 1923, and the school’s name was changed to ‘Melton South’ in the same year. Even though the older Melton South pupils would no longer have to travel to the Unitt Street school, an additional brick room was still required at the Melton SS430 in that same year. In 1961 a new room was added to the school. In 1972, at the beginning of Melton’s boom as a satellite town, the number of enrolments was 224. The school has since shared in the exponential growth of the town of Melton, and at the time of its jubilee celebration (1983), 524 pupils were enrolled. Victoria Hall, neglected and vandalised, was demolished in 1992. It had been handed back to the Council on condition that it be replaced by a new hall, with the same name, and was commemorated by a plaque. Apart from the 1923 brick school building, and the railway station, none of the principal early Melton South public sites survive. Few early residential sites remain. (Further research will establish whether the house on the corner of Station Street and the railway line was the original teacher’s residence.)" Melton State School "On 17th May 1858 a State subsidised, combined Denominational School was opened by HT Stokes, with an attendance of about 30 children. This school was conducted in the wooden Melton Combined Protestant Church, situated on ‘a creek flat’ thought to be on the north side of Sherwin Street between Pyke and Byran Streets. It is likely that the Church had been established by 1855 and that the first minister was the Rev. Hampshire, who lived in Cambridge House on the Exford Estate. Ministers of the Protestant denominations were invited to hold services there. As there was only one resident Minister in the town (Presbyterian Mr J Lambie), laymen of the various denominations often spoke on Sundays. In 1863 this building was declared a Common School with the number 430. One of its first and most prominent headmasters was John Corr, who served from 1860 to 1864. Most of Mr Corr’s children also became teachers, including Joseph Corr, at the Rockbank school, and J Reford Corr and WS Corr, headmasters and teachers at numerous prestigious private secondary schools around Australia. John Corr purchased land alongside the school and elsewhere in and near Melton, became secretary and treasurer of the new Cemetery Trust, and by July 1861 was deputy registrar of births, deaths and marriages. He walked three miles every Sunday to teach at the Weslyan Sunday School he had established. Despite good reports from the Education Department Inspector, and burgeoning enrolments, the local school committee recommended the dismissal of, firstly, his wife (from the work mistress position), and then him from the headmaster position. Corr saw his dismissal as an attempt to redirect state aid for education from the Combined Protestant school to the support of the Free Presbyterian Minister Rev James Lambie (by one account the owner of the land on which the Common School was erected), whose son-in-law James Scott subsequently assumed responsibility for the school. Rev Lambie failed in his efforts to keep the existing school, which the Education Department Inspector and the majority of Melton citizens regarded as badly situated and badly built. Following a conditional promise of state aid, local contributors in 1868-69 raised ₤72.10.6 towards the cost of an iron-roofed bluestone rubble building 43 ft x 12 ft. This was erected on a new site of 1.5 acres (the present site). The State contributed ₤120 to the new school, which opened in 1870. A very early (c.1874) photograph of the school shows its headmaster and work mistress / assistant teacher (probably James Scott and his wife Jessie) and its (very young) scholars. Similar photos show pupils in front of the school in c.1903, and 1933. In 1877 a second bluestone room costing ₤297 was added and further land acquired from the Agricultural Society (who only needed it two days a year) to enlarge the schoolground to 3 acres. In the early 1880s an underground tank augmented the school water supply and in 1919 a five-roomed wooden residence was added. During this period the school correspondents often compained that the walls of the bluestone buildings were damp, affecting the plaster. In 1923 a brick room 26 ft 6 in by 24 ft with a fireplace and four rooms facing south, was added, and a corridor built to link the three buildings. This served adequately for the next 40 years. The school bell probably dates to 1883. The school also has a memorial gate (1951) to World War One ex-students, and an honour board to the 64 ex-students who served in the First World War. The school roll fell to 42 in the early post war-years, but was boosted by an influx of migrants, mainly from the UK, from the late 1960s. This presaged the boom in Melton’s development, and the corresponding growth of the school, with timber and temporary classrooms added to the previous masonry ones. An endowment pine plantation established in 1930 augmented the school’s fundraising activities when it was harvested in 1968. Part of the site was planted with eucalyptus trees in 1959. Famous ex-students of the early twentieth century included Hector Fraser (internationally successful shooter) and cyclist Sir Hubert Opperman". The Express Telegraph articles about the history of Melton South and Melton State Schoolseducation

Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.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, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.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, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Built by artist and cartoonist Percy Leason in 1927 in what was then New Street but renamed Lavender Park Road in the late 1950s/early 1960s. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p121 Said to be a genius, cartoonist Percy Leason’s career was at its peak when in 1925 to 1926 he built his home at New Street (now Lavender Park Road) Eltham. The Herald newspaper owner, Sir Keith Murdoch, had hired Leason for his newly acquired Melbourne Punch magazine at a salary of £1750, making him ‘one of the highest paid cartoonists in the world’.1 With this salary and financial help from Murdoch, Leason was able to build his lovely home in Eltham. At the crest of a sweeping drive, the home now two-storey in white brick with a gabled grey slate roof and dormer windows is flanked by an extension built by another owner in the 1980s. Leason lived in the home with his wife, Isabel and children, until 1937, when he left for the United States of America, where he lived until his death in 1959. The four-bedroom house and garden would have been well-suited to bringing up his family and to entertaining their friends in style. Large airy rooms have high ceilings with moulded plaster, timber floors and several are brightened with bay windows. Leason made friends with many of the artists and personalities who gravitated to Eltham. Around 1931 Justus Jörgensen, founder of the Montsalvat Artists’ Colony, helped Leason build his large studio at the back of the house. Another friend was journalist Mervyn Skipper, father of jeweller and sculptor Matcham, and artists Helen and Sonia. Leason’s teacher, artist Max Meldrum, also visited and rented accommodation in Eltham, opposite Wingrove Park. Punch folded in 1925, but Leason continued as cartoonist for Table Talk. In 1926 Leason began the cartoons of a mythical Australian town Wiregrass, which were inspired by Kaniva, his home town. The art gallery in Main Road Eltham was named Wiregrass in Leason’s honour. Leason completed 1000 drawings from 1919 to 1937, which author Garrie Hutchinson claimed, were technically unsurpassed and had regional and universal interest. Leason’s acute observations of country life stemmed from his childhood in Kaniva in Victoria’s western Wimmera, where he was born, the son of a selector, in 1889. Meldrum claimed that Leason could name every plant and the habits of every animal.2 Leason also painted 28 portraits of the last full-blooded aboriginals in Victoria at Lake Tyers in Gippsland, most of which are in a private collection. In Sydney Leason illustrated Henry Lawson’s Selected Poems and worked for The Bulletin. Leason had begun his career at 13 as an apprentice lithographic artist at Sands and MacDougall. He attended night classes at the National Gallery and the Victorian Artists Society. Leason first visited Eltham in 1910 to paint with fellow artist William ‘Jock’ Frater. They camped near Bible and Pitt Streets and along the Diamond Creek on the site of the present Eltham Retirement Centre. Despite his success as a cartoonist, Leason wanted to be recognised as a serious painter and for his anthropological work.3 He was also conservative and felt uncomfortable with the modern art scene in Melbourne.4 So he left for the United States of America to work as a painter. Ironically his time in New York saw the burgeoning of modern art, notably by artists such as Jackson Pollock. But Leason found his niche by running an art school, painting society portraits and illustrating books and magazines.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, landscape, lavender park road, percy leason, new street

Hawthorn hedges are important reminders of Kangaroo Ground's Scottish heritage. They are Registered on the Victorian Heritage Register. They are "historically significant because the planting of hawthorn hedges reflects the adoption of Eurorpean farming techniques by the Kangaroo Ground population in the period following settlement and because the grid pattern of paddocks that the Hawthorn hedges define is very different to today's farm landscapes." Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p21 Hawthorn hedges bordering Kangaroo Ground’s gently rolling farmlands are important reminders of its Scottish heritage and are rare so close to Melbourne.1 As early as the 1840s newly arrived farmers from Scotland planted hawthorn hedges around their properties, to protect crops from the numerous kangaroos and wallabies. Many of these hedges survive today. These farmers had the good fortune to settle some of the most fertile land available for cropping in the Colony of Victoria. At that time the black volcanic soil could sustain an amazing two crops a year. By the mid 1850s, 500 acres (202ha) of wheat were growing in Kangaroo Ground. But the crops were threatened by kangaroos, which were so plentiful, that Surveyor-General, Robert Hoddle, named the district Kangaroo Ground in 1838. As post-and-rail fences proved inadequate barriers for the bounding kangaroos, the Scots planted hawthorn hedgerows as they had done in Scotland. Some also used the hedges to net birds, presumably for the table. Interestingly the farmers in the bordering townships of Panton Hill and Christmas Hills, did not plant hawthorn hedges around their properties. Perhaps it was because by the time they settled in the 1860s and 1870s most of the wildlife had been gunned down by residents.2 The canny Scots planted the hedges on public land outside their own farms, as the hedgerows could spread to about five yards (five m) in width. With this impenetrable barrier Kangaroo Ground’s industrious farmers flourished to gain the economic power that saw the Shire of Eltham governed from Kangaroo Ground for 79 years (1858-1937). The Scots jealously guarded their land, so hard to get in Scotland. That is why they refused to release any of it ‘for local roads to follow easier grades as was the case in surrounding districts where roads generally followed ridgelines or streams’.3 Instead the roads were built in accordance with the magnetic bearings of their first survey in 1847 whether that suited the steep topography or not. This could force traffic to diverge when wet through Greensborough and Diamond Creek. Until 1921, the Eltham-Yarra Glen Road beside Wellers Restaurant, ‘dipped down into the upper reaches of Stony Creek’.4 Later some corners were compulsorily cut for the increasing motor traffic. As late as the 1960s, corners were cut to form sweeping curves above and alongside the Kangaroo Ground Cemetery and opposite the Emergency Operations Centre. In the latter case, the farmers – understanding their hedgerows as important heritage – insisted upon their reinstatement to conform to the altered road alignment. Kangaroo Ground’s ancient manna gums also point to the district’s history and to that of the hedgerows. The Aboriginal people had transformed the original forests into grasslands with the fires they lit to attract kangaroos, (which the Scots were to exclude by planting hedgerows). But the Wurundjeri hunters left the gums (Eucalyptus vimminalis cygnetensis), on the grasslands as ‘stalking trees’ to hunt kangaroos. The hawthorn hedges in Kangaroo Ground were neglected for around 60 years from about the middle of the 20th century. Bushfires had created gaps and the hedgerows were not trimmed. Then in late 2005, local historian Mick Woiwod, formed a group to lobby the Nillumbik Shire to restore the hedges, which could last for many centuries. Some hedges in parts of Britain date back to AD 800.5 Although the original Scottish farmers have gone, the hedges are a reminder of when they flourished in the district, which has changed little in 150 years.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-yarra glen road, hawthorn hedgerow, kangaroo ground

Elgin Shoes Pty., Ltd., established a branch shoe factory in Beechworth in 1946. Managing director, Mr T Nagle Pitman, selected Beechworth as a suitable location for the factory due to the availability of labour in the town, particularly girls under sixteen years of age. At its peak, the shoe factory employed thirty six women and girls, which also included post-war migrants. After the Second World War, Australia admitted increasing numbers of immigrants in order to fulfil labour requirements for a rapidly inflating demand of consumer goods. These migrants were largely from European Countries in line with the ‘White Australia Policy’. In 1954 Beechworth had 170 migrants from the UK, 102 from Hungary, and 63 from Germany. The factory closed in 1961 as increased centralisation of both populations and industry in the larger nearby towns of Wangaratta and Wodonga lead to the closure of many factories in small towns in the 1960s and 1970s. This photograph is historically significant as it shows the working conditions in a factory primarily staffed by women at some point between the late 1940s and early 1960s. Sepia rectangular photograph printed on matte photographic paperReverse: 14 / AFGA / 6982 / pitman shoe factory, elgin shoe company, industry, shoe factory, shoemaking, working women, post-war migration, factory, white australia policy, mid-twentieth century women's working conditions, twentieth-century working conditions, pitman, elgin, shoe, sewing machine, leather, pittman

Taken around 1960s, this photograph shows the banks of Lake Sambell. Lake Sambell is named after Mr. L. H. Sambell who was instrumental in the lake's formation. Lake Sambell is the original site of the open sluice operation of Rocky Mountain Mining Company in the 1800s and the early 1900s. In the early 1920s, it was reconstructed as a recreational lake and was formally opened to public on 6 October 1928. The opening event was attended by townspeople and Beechworth's Minister of Lands Mr. Bailey. In the late 1930s to early 1940s, Lake Sambell redeveloped. The first development aimed to raise the banks by six feet to double its present area and to make the water cleaner. Another redevelopment in the 1940s was made possible by the Beechworth and District Progress Association. It involved raising the banks to five feet to provide swimming facilities, paddling pool and caravan park. This photograph holds Historic significance because of its connection to the development of Beechworth district.Sepia rectangular photograph printed on matte photographic paperObverse: Reverse: 3533 /beechworth, water scheme, water reserve, catchments, beechworth water reserve, beechworth catchments, municipal council, lakes, reserve, water supply, political projects, environmental changes, mr. l. h. sambell, sambell, rocky mountain mining company, recreational lake, minister of lands, mr. bailey, swimming pool, paddling pool, caravan park, swimming facilities, lake redevelopment, funding

This photo was taken in the 1960s from a northeast position looking down towards Lake Sambell, the caravan park, and the surrounding area. This photo was taken during a period of rejuvenation for the lake area including the opening of the caravan park in 1959 and the swimming pool area in 1961 (this pool is just visible in the centre of the photo). The popularity of caravanning in Australia exploded during this post-war period of the late 1950s and 1960’s. This popularity was driven by multiple factors, including: the stopping of fuel rations, the accessibility of car ownership through the manufacturing of affordable cars, technological developments in caravan design, and the increase in prosperity and leisure time for many Australians. Lake Sambell is an artificial lake that was developed on the previous site of the Rocky Mountain Mining Company workings and was officially opened by Minister for Lands, Mr Baily, on October 5, 1928. The disused and unattractive remains of the mine were converted into a recreational area intended for swimming, boating, and fishing. The lake is named after Mr L.H. Sambell, shire engineer and secretary of the Forward Beechworth Committee, who advocated for the enhancement of Beechworth into a tourist destination and was central to the planning and establishment of the lake. Funding for the project was raised by both competition funds and donations. Since the construction in 1928 several engineering issues have arisen. In 1939 the water levels were low, and the lake was considered both an eyesore and ‘mudhole’, Beechworth Shire Council sort funding to raise the height of the lake six feet to improve the quality of water. Throughout the 1940s the Beechworth Swimming Club tried to raise awareness and funds to address the structural engineering issues and improve swimming facilities at the lake. R.E. Carter, similar to L.H. Sambell, was a shire engineer who advocated the importance of positioning Beechworth as a tourist destination. Carter held the position from 1954-63 and organised many improvements to the Lake Sambell area including the caravan park in 1959, the lake swimming pool in 1961, water skiing and boating facilities, and increased the lake surface are in 1964. These improvements were financed mainly by grants from the Tourist Development Authority. This photograph is of historical significance as it documents Lake Sambell and the surrounding area in the 1960s after a phase of enhancements to improve the appearance and usability for both the people of Beechworth and tourists. It is also of social significance in providing an insight into the increase in leisure time and access to travel during a period of post-war prosperity.Black and white rectangle photograph printed on matte photographic paper and unmounted.Reverse: 1 / [logo KODAK/ VELOX/ PAPER] / C798 / 3535lake sambell, lake sambell caravan park, lake sambell swimming pool, caravan park, caravanning 1960s, rocky mountain mining company, l.h. sambell, r.e. carter, beechworth swimming club, forward beechworth committee, minister of lands, tourist development authority, lake swimming, swimming, boating, fishing, water skiing, beechworth 1960s, lake sambell fishing, lake sambell boating

They were made from 1913 and they probably weren't very expensive cameras. The Hawk-Eye No. 2 model C of 1913 was a simpler model with just one viewfinder, and no choice of aperture. This version was reissued in 1930 for Kodak's 50th anniversary: For this, the company offered a free Hawk-eye camera to any child of 12 in that year. Approximately 550,000 of these were issued.[A box camera is a simple type of camera, the most common form being a cardboard or plastic box with a lens in one end and film at the other. They were very popular in the late 19th and early 20th centuries. The earliest Kodak's were simple box cameras which were sent to a local dealer after all the shots on the film inside were taken. The dealer developed the film and sent the photographs and the reloaded camera back to the photographer. While introducing a wide range of innovative features two designs dominated Kodak's cameras. The most famous of these was the Box Brownie, designed by Frank Brownell, and introduced at the cost of one dollar in 1900. Brownie's were produced in one form or another up until the 1960s when the Kodak Instamatic was introduced. A Cartridge Hawkeye No. 2 Box Camera. It i has a cardboard body and the body is covered in black leatherette. The camera is designed to be used with Kodak No 120 film. It is a rectangular box with a hole at the front (no lens). The shutter control is on the right side. The film winder is below the latch. The film window is at the back and there is a leather carrying handle at the top. Back - Made in Great Britain Use Kodak No.120 film Kodak Handle - No. 2 Cartridge Hawk-Eye Model Cphotography kodak camera box-camera

Glass bottles were refillable until the 1960s, creating a demand for their collection and onsale back to beverage manufacturers via ‘bottle merchants’.This bottle is an example of a beer bottle commonly used in the late -early 20th century.MBVC brown beer bottle. A narrow bottle with a long neck.MB. Manufacturers Bottle company of Victoria CVbottle glass

The picture was framed by business, Leighton House, paint and art merchants at 346 Little Collins Street, Melbourne. It was made to order, number 6777. The business was also called The Leighton Gallery of Art and was owned by W & G Dean Pty Ltd. The phone number on the label "MU 8291" indicates that the picture was framed circa the 1960s or earlier, during the time that Melbourne was using 6-0digit alpha-numeric numbers. Below the picture is an excerpt of a hymn "The Head that Once was Crowned with Thorns" by Thomas Kelly: The head that once was crowned with thorns Is crowned with glory now; A royal diadem adorns The mighty Victor's brow. The Cross He bore is life and heath, Though shame and death to Him; His people's hope, his people's wealth, Their everlasting theme. This picture was part of the original furnishings of the St Nicholas' Mission to Seamen's Church at 139 Nelson Place, Williamstown, Victoria. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the orgainsation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. This picture is significant through its association with the St Nicholas' Mission to Seamen Church in Williamstown, Melbourne, established in 1857. The items in our collection from the Missions to Seamen in Williamstown, Victoria, have historical and social significance. They show that people of the 1800s and 1900s cared about the seafarers’ religious, moral, and social welfare, no matter what the religion, social status or nationality. It had its origins in Bristol, England when a Seamen's Mission was formed in 1837. The first Australian branch was started in 1856 by the Rev. Kerr Johnston, a Church of England clergyman, and operated from a hulk moored in Hobson’s Bay; later the Mission occupied buildings in Williamstown and Port Melbourne. Picture, print of "The Cross of Glory", rectangular, framed print on matt. It depicts Jesus Christ on a cross with an angel on each side, at his feet. He is wearing priestly robes and a gold crown on top of thorns on his head. In the background there is a rainbow and clouds. The text below the picture includes "From the picture by T. Noyes Lewis". Lines from a hymn are also printed below the picture. The back of the picture has pencilled numbers in three places plus a printed label with the framer's details. "From the picture by T. Noyes Lewis". Backing paper has pencil "6777" in two places. Label has bencil "677-" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, the cross of glory, print, t. noyes lewis, leighton house, home decoration, religioius picture, church furnishing, w & g dean pty ltd, leighton gallery of art, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, missions to seamen victoria, mission to seafarers, flying angles club, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown

Returned to RDHS from Federation Estate Art GalleryPhoto 1 (7009a) - Former "Ringwood Mail" newspaper office, Adelaide Street, 1955, looking along laneway to west. Lane between Bamford's Timber Yard, corner Warrandyte Rd. and Maroondah Highway, and went to Melbourne St, later called Civic Place. Other buildings were Ham's Billiard Saloon, the two-story Renong Chambers, bottom left Jack Orr's clothes hoists and bottom right Horman & Woolhouse plumbers. All demolished for the building of Eastland in the 1960s. The photo shown is a typical example but may not be in the collection.

Black and white photographWritten on back of photo: "Infant Welfare Centre Ringwood built Civic Place-later demolished to make way for Eastland circa 1960s"

This is a collection of five photographs taken at the Army Headquarters Survey Regiment, Fortuna Villa, Bendigo, circa 1950s to 1960s. Appearing in photo .3P is MAJ Edward Anderson MBE, who served from 1942 to 1977 and reached the rank of LTCOL. LT Frank Thorogood SB St J. served from 1960 to 1981. He reached the rank of LTCOL and was the CO of the Army Survey Regiment from 1980 to 1981. CAPT W. Greer’s service history is unknown. Appearing in photo .5P is MAJ Nolan, who served from 1939 to 1975. He was promoted to LTCOL and was the CO of the Army Headquarters Survey Regiment from 1965 to 1969. He was subsequently promoted to COL and was the Director of Military Survey from 1972 to 1975.This is a collection of five photographs taken at the Army Headquarters Survey Regiment, Fortuna Villa, Bendigo, circa 1950s to 1960s. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. They were scanned at 300 dpi. .1) - Photo, black and white, 1950s. Regiment briefings by Fortuna’s lake. .2) - Photo, black and white, 1960s. Unidentified officer and civilian visitors in the Officers Mess. .3) - Photo, black and white, 1960s. L to R: MAJ Edward Anderson MBE, CAPT W. Greer and LT Frank Thorogood SB St J; in the Officers Mess. .4) - Photo, black and white, 1962. Regiment parade held in Fortuna’s grounds where the tennis and basketball courts were later developed. .5) - Photo, black and white, 1960s. MAJ John Nolan (centre) with unidentified civilian visitors.Personnel were identified in photos .3P and .5P. The date is annotated on photo .4P.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

This bat was awarded to Thomas William Southcombe in 1876 for the best batting average during the 1875-6 season at Warrnambool Cricket Club. Thomas William Southcombe was the son of Thomas and Mary Southcombe of Port Fairy. With his parents, Thomas and Mary, he arrived in Port Fairy in 1854. Thomas Senior was a carpenter who established several businesses in Port Fairy and served on the local Council for many years as a Councillor and Mayor. Thomas Junior appears to have migrated to U.S.A. and died there in 1904. The cricket bat was manufactured by the British firm of James Lillywhite, Frowd & Co. James Lillywhite was an English cricketer whose uncle had originally established the sports store and manufacturing business which lasted under various names until the 21st century. A cricketer named Lillywhite played in Warrnambool in 1874 with an All England Team under the captaincy of W.G.Grace. It is not known whether this was James Lillywhite or another member of the Liilywhite family as several of them played first class cricket.. The impression of the signature of W.H.Ponsford on the bat is an intriguing one. W.H. (Bill) Ponsford was a famous Australian cricketer who retired in the late 1930s. The Southcombe cricket bat was given by Mary Southcombe (Thomas’ sister) to the old Warrnambool Museum in 1923 and it is surmised that Bill Ponsford visited Warrnambool in 1957 (tthis appears to be the date under the signature imprint) and was shown the bat. It is then surmised that he rested a piece of paper or an album page on the bat while he signed his name and the impression of the signature has come through onto the bat. The old Museum closed in the 1960s and the bat was then passed on to the Warrnambool and District Historical Society from the Warrnambool City Council collection of items from the Museum. This bat is of considerable importance because of its provenance and its connection with the Warrnambool Cricket Club, the Southcombe family of Port Fairy, the Lillywhite manufacturers, the old Warrnambool Museum and Bill Ponsford. It is also a good example of the type of cricket bat used in Australia in the 1870s. This is a wooden cricket bat (light colour wood, presumably willow) with a handle covered in oiled thread. It has an etched inscription on one side of the bat and the names of the manufacturer and distributor on the other side. There is also a faint impression of another signature. The blade of the bat is slightly curved. ‘W.C.C. Season 1875-6 Presented to T.W. Southcombe, for Best Batting Average’ ‘James Lillywhite Frowd & Co., Manufacturers, Borough, England’ ‘Made for George Marsh, Melbourne’ ‘W.H.Ponsford, -/1/1957’ warrnambool cricket club, thomas william southcombe, w.h.ponsford, warrnambool’s old museum

This police baton or truncheon is typical of the ones used by police in Australia perhaps late in the 19th century or early in the 20th century. No information has yet been found as to the identity of the owner or the significance of the letters, ‘A P 1304’. There are several possibilities as the collection of the old Warrnambool Museum which operated from the 1870s to the 1960s included several police batons. The owner of this baton is not known but is retained pending further research.This is a wooden police baton. The rounded body is tapered towards the top and it has an incised ridge near the top and a knob on the top to form a handle. The ridge at the top may be for holding a string or rope to carry the baton on the wrist. The wood has been varnished but it is now much worn and discoloured. The letters have been etched into the surface.‘A P 1304’ history of warrnambool, police in warrnambool, police baton, police baton ap 1304

The Tawonga Primary School was a weatherboard building built on 8 acres. In 1900 a fire destroyed the building and its records. The school was then moved to the Old Tawonga Hall before a new one was built in 1910 on land donated by Frank Cooper. In 1937 and 1954 further buildings were added. Tobacco farming and the building of the Kiewa Hydro Electric Scheme increased the number of pupils during the 1950s and 1960s. This glass represents the celebration held when the school became 100 years old.Tawonga Primary School was established for the children of the farmers of the Kiewa Valley in 1880 and later for children of the tobacco farmers and workers on the Kiewa Hydro Electric Scheme. The history of the school reflects the activities of the people living in the valley and in particular Tawonga township.Clear glass with gold metal brim and embossed in gold on two sides. Base is solid tapering up to the glass sides.On one side: Gold embossed picture of school building On opposite side: Gold embossed 2 circles - Inside inner one: 1880 - 1980. Between this and outer circle - Tawonga Primary School No 2282. Underneath both circles gold embossed: Centenarytawonga primary school, kiewa valley, education

The State Electricity Commission of Victoria produced and displayed safety signs for their employees during the construction of the Kiewa Hydro Electric Scheme.KHES was constructed from the late 1940s to early 1960s and included the construction of Mt Beauty and Bogong townships. Safety was a concern for the SECV towards its workers. Metal black print on white background with yellow 'emphasis' at the top - 'Safety'. "Instructions for the use of / Grinding Wheels". There is a circular hole in each corner with a black frame around the perimeter.state electricity commission of victoria, kiewa hydro electric scheme, safety sign, grinding wheels

This is a program for the 1996 Warrnambool Theatre Company production of ‘Oklahoma’. Amateur theatre groups of various kinds have been operating in Warrnambool since the 1860s and a group called the Warrnambool Dramatic Society was operating in the 1950s. In 1958 this group changed its name to the Warrnambool Theatre Group and at a later stage this became the Warrnambool Theatre Company. The husband and wife team of Cyril and Joyce Hayward contributed to make the theatre company well-known in the area for fine productions for over 30 years in the 1960s, 70s and 80s) . Today the Warrnambool Theatre Company continues to produce plays, musicals and concerts on a regular basis. ‘Oklahoma!’ is an oft-produced musical by Rodgers and Hammerstein (1943).This is a program of interest as an example of the type of show produced by the Warrnambool Theatre Company in 1996. This is a 1996 Warrnambool Theatre Company production of ‘Oklahoma’. It has 16 pages and an orange-coloured cover with an image of a rising sun and a landscape outline on the front cover and a Warrnambool Standard advertisement on the back cover. The program contains black and white advertisements, information on the production, cast and crew and photographs of those involved in the production. The pages were stapled but the staples have been removed. ‘oklahoma!’, warrnambool theatre company

This finely crafted skirt has been made at the Fletcher Jones clothing factory. David Fletcher Jones served in World War One and following this had an itinerant hawker's business in the Western District . In 1924 he opened a tailoring shop in Liebig Street, Warrnambool and began to specialise in the production of men's trousers. In 1946 he opened a shop in Melbourne and in 1947 the firm of Fletcher Jones and Staff Pty. Ltd. was registered. In 1948 a clothing factory was opened in Warrnambool and in the 1960s Fletcher Jones shops had extended to other states of Australia and later the merchandise was extended to men's and women's clothing. It was one of the best known businesses in Australia. The Fletcher Jones company was dissolved in 2011. This is a fine example of a Fletcher Jones item of clothing. The Fletcher Jones clothing business was one of the most important businesses ever to have been in Warrnambool and the factory gardens survive as a tourist attraction in Warrnambool.This is a reversible black, grey and white checked woollen, woman's skirt. It is fully pleated on a waist band which can be buttoned either side. There is a zip on the side next to the waist band.THE Two -Way SKIRT by FLETCHER JONES PURE NEW WOOL SIZE 14fletcher jones clothing company, warrnambool industries

This docket book has been used to enter sales from the Cramond and Dickson department store in Warrnambool and to provide the customer with a copy of the invoice. It dates from about the 1960s. John Cramond and James Dickson, two pioneer settlers in Warrnambool, established the Carmond and Dickson store in Warrnambool in 1855, initially selling groceries, drapery and ironmongery but later, at the corner of Liebig and Timor Streets, this department store sold mainly clothing and drapery. In the 1860s a Cramond and Dickson store was opened in London. The Cramond and Dickson store, a most important business in Warrnambool, operated until 1973. The docket book was printed by Lamson Paragon, a British firm that was established in Australia in 1897 and specialized in printing sales docket books with a carbon paper insert.This docket book is of interest as a memento of the Cramond and Dickson Store, one of the most significant businesses ever to have operated in WarrnamboolThis is a docket book containing 46 pages of white printed sheets bound with green tape and enclosed in a green patterned paper cover on the front and a piece of cardboard on the back. The pages have ruled black lines, red and black print and an image in red of a building. Some of the pages have been used and removed. At the front of the pages are two sheets of carbon paper and tissue paper for copying purposes.Cramond & Dickson General Drapers and Importers Warrnambool 3280 Lamson Paragoncramond & dickson warrnambool, john cramond warrnambool, james dickson warrnambool, warrnambool businesses, lamson paragon printing firm

The Wireless Institute of Victoria was established in 1910 and amateur radio operators (called hams) in Victoria were issued with licences by this institute. Cards such as this one were exchanged by operators to confirm a contact between two amateur radio operators anywhere in the world (called QSL cards). The cards contained information regarding the radio contact made, the strength of the signal, the type of transmitter etc and the words, codes and abbreviations used were known internationally. This card, which is an unused one, belonged to Ted Salamy who had the call sign A 3AJ. This licence was issued in 1924 and was the 35th amateur radio licence issued in Victoria. It is believed that this was the first amateur radio station established in Warrnambool. Ted Salamy (1903-1977) was the son of Michael Salamy who established jewellery shops in Timor Street and in Liebig Street in Warrnambool in the 20th century. Ted Salamy was later the proprietor of these stores up to the 1960s when he retiredThis card has considerable local significance as an early Warrnambool amateur radio card and as one belonging to a prominent 20th century Warrnambool businessman, Ted Salamy. This is a card with a buff-coloured background and black and red printing on one side of the card and handwritten information in blue ink on the other side. The remains of adhesive tape applied to the edges of the card are still visible. ‘Timor Street Warrnambool Vic. Australia A 3AJ, E. Salamy Op.’ amateur (ham) radio, victoria, ted salamy

These documents concern the property in South Warrnambool, Jetty Allotment 7, Section 4. They include a search made of the title of this property in 1937 and information on later purchasers of the property. The first owner of this property was James Cust who purchased it in April 1853. James Cust (1815-1860) came from Ireland to Australia in 1841. From 1847 on he farmed first at Woodford and then moved into Warrnambool and began land speculating.. In 1856 his property was valued at £20,000 but by 1858 he was declared insolvent following the insolvency of his financial backer, William Bateman and his properties were sold. He died in 1860 following an accident at a Ballarat gold mine. Other notable Warrnambool identities who owned this property on Pertobe Road included Thomas King, Christopher Beattie, Thomas Goodall, William McMahon and Alan Lane.These documents are of interest as they detail the history of a property in Warrnambool up to the 1960s. They are also an example of the type of property once owned by James Cust, an important early land speculator in Warrnambool. These are nine loose sheets of paper concerning a legal search made of a block of land in Warrnambool and later documents on the same property The papers contain handwriting in blue and black ink and pencil and one red stamp. One of the pages is an invoice for the charge made for the search.‘Searched 25/5/37 W.D. Richardson Titles Searcher 418 Little Collins Street Melbourne C1’james cust,, history of warrnambool

These nylon stockings are a sample of the type of stockings worn by women between the late 1940s and the early 1960s. Before the Second World War women’s stockings were made mostly of silk, cotton and wool. Nylon stockings became popular with the introduction of nylon in the 1940s and continued to be used (in conjunction with suspender belts) until the 1960s when the pantihose, a thin nylon form of tights covering the legs up to the waist, was introduced and became the favored leg covering for women. Stockings can still be purchased and worn in some circumstances. These stockings are of interest as an example of the items of clothing worn by women in the mid 20th century. They will be useful for displayThis is a pair of beige-coloured nylon stockings. They are folded into a piece of white cardboard and partly enclosed in a clear cellophane wrapping with a decorative pattern on the edges. ‘Hilton Cotton Foot 30 Denier Twin Thread 10½ Average’women’s apparel, warrnambool

This trophy was won by the West End Football Club in 1937. This football team appears to date back from the late 1890s but it is known that it was competing in the early 1900s in the Thursday afternoon matches in the Warrnambool and District Football Association. In the 1930s it was in the Warrnambool Football Association competition and about the 1960s it amalgamated with Allansford to form the West End Allansford Football Club. The name West End disappeared in 2001 when the name changed to Allansford Football Netball Club. No further information has been found on the J.Earls Cup.Although this trophy is in poor condition it is interesting as a memento of a local club that existed for over 100 years.This is a gold-coloured cup with a slender tapering piece resting on a circular base. The base is on a brown Bakelite stand. The cup has had two side handles but one handle is missing. The stand has a silver-coloured plaque. The cup and plaque are much stained and oxidized. ‘W.F.A. J. Earls Cup Premiers West End 1937’ warrnambool football association 1930s

These marble stopper bottles came from the Warrnambool aerated waters factory of Joseph Lescai. A marble stopper bottle was one which was filled upside down so that as soon as the filling stopped the stopper was forced down to seal the bottle against the rubber ring. Pressure inside the bottle would keep the marble pressed against the top of the bottle. To open the bottle the marble was pressed down where it would fall into the neck chamber below. The marble would stay inside the neck chamber when the bottle was tilted up for drinking. Joseph Lescai and his brother, James had fruit shops in Warrnambool and in the 1920s Joseph Lescai began to produce cordial and soft drinks at his Fairy Street shop. The cordial manufacturing was then re-located to a site in Fairy Street close to Raglan Parade and the business, known as Warrnambool Cordials Pty Ltd, was operated then by a group of Warrnambool businessmen and later by Thomas Hill in the 1930s. In the 1940s the business was purchased by the Flett brothers, Frederick and Charles, and in the 1960s the business was sold to Thomas McKenzie and retailed under the name of McKenzie’s Cordials. The business was still operating in the 1970s. These bottles are significant because they come from the Warrnambool aerated water factory of Joseph Lescai, probably in the late 1920s. The business commenced by Joseph Lescai became Warrnambool Cordials Pty Ltd and this was a prominent business in Warrnambool for 50 years or more. Cordial manufacturing was an important industry in Warrnambool for over 100 years. These three bottles are marble-stopper green glass bottles. They have a rounded base and body with a deep indentation in the glass at the top of the body to form a narrow neck chamber. The necks have small round indentations in the glass. The tops of the bottles have moulded glass and an opening. Details on the aerated waters manufacturer are impressed into the glass on the side of the bottles. A round green marble is loose in the neck chamber. Rubber rings in the necks of the bottles are missing. One of the bottles has a wooden stopper but this may not have been an original. Inscriptions and Markings: Serial numbers, signatures, engravings, dedications in books, manufacturing details or personal markings ‘J. Lescai J.L. Warrnambool’ ‘This bottle is the property of Lescai Warrnambool and cannot be legally used by others’ These three bottles are marble-stopper green glass bottles. They have a rounded base and body with a deep indentation in the glass at the top of the body to form a narrow neck chamber. The necks have small round indentations in the glass. The tops of the bottles have moulded glass and an opening. Details on the aerated waters manufacturer are impressed into the glass on the side of the bottles. A round green marble is loose in the neck chamber. Rubber rings in the necks of the bottles are missing. One of the bottles has a wooden stopper but this may not have been an original. Inscriptions and Markings: Serial numbers, signatures, engravings, dedications in books, manufacturing details or personal markings ‘J. Lescai J.L. Warrnambool’ ‘This bottle is the property of Lescai Warrnambool and cannot be legally used by others’ These three bottles are marble-stopper green glass bottles. They have a rounded base and body with a deep indentation in the glass at the top of the body to form a narrow neck chamber. The necks have small round indentations in the glass. The tops of the bottles have moulded glass and an opening. Details on the aerated waters manufacturer are impressed into the glass on the side of the bottles. A round green marble is loose in the neck chamber. Rubber rings in the necks of the bottles are missing. One of the bottles has a wooden stopper but this may not have been an original. Inscriptions and Markings: Serial numbers, signatures, engravings, dedications in books, manufacturing details or personal markings ‘J. Lescai J.L. Warrnambool’ ‘This bottle is the property of Lescai Warrnambool and cannot be legally used by others’ These three bottles are marble-stopper green glass bottles. They have a rounded base and body with a deep indentation in the glass at the top of the body to form a narrow neck chamber. The necks have small round indentations in the glass. The tops of the bottles have moulded glass and an opening. Details on the aerated waters manufacturer are impressed into the glass on the side of the bottles. A round green marble is loose in the neck chamber. Rubber rings in the necks of the bottles are missing. One of the bottles has a wooden stopper but this may not have been an original. J. Lescai J.L. Warrnambool’ ‘This bottle is the property of Lescai Warrnambool and cannot be legally used by others’ lescal cordials, cordial bottles, 1920's bottles, warrnambool cordial manufacurers

This bottle came from the aerated waters factory of Warrnambool Cordials Pty Ltd. This business was established by Joseph Lescai who had a fruit shop in Fairy Street, Warrnambool in the 1920s. He began to make soft drinks and eventually this became his core business. A group of local businessmen took over the business and in turn it was bought by a local garage proprietor, Thomas Hill, in the 1930s. By this time it was called Warrnambool Cordials Pty Ltd. In the early 1940s the business was purchased by Charles and Frederick Flett and later sold to Thomas McKenzie in the 1960s. The business operated until the 1980s. It appears that the contents of this bottle were made during the Second World War in the time of either Thomas Hill or the Flett Brothers.This bottle is of interest as it comes from the aerated waters business of Warrnambool Cordials Pty Ltd. This company was in operation for over 50 years. Cordial manufacturing was an important industry in Warrnambool for over 100 years. This is a glass lemonade bottle with a round base and a rounded body tapering to a narrower round neck with a moulded glass top at the opening. There is a stopper made of composite materials. The information on the maker of the lemonade is impressed into the glass on the side of the bottle.‘War Grade’ ‘Lemonade’ ‘Warrnambool Cordials Pty Ltd’ ‘Bottle not complete without stopper’ ‘This bottle is the property of Warrnambool Cordials Pty Ltd Warrnambool’ warrnambool cordials pty ltd, cordial manufacturers in warrnambool

This is the seat from the aeroplane of Basil Watson. Photographs held by the Warrnambool and District Historical Society confirm that this was Watson’s aeroplane seat. He was a pioneer aviator who had built his own plane which was 5.5 metres long with a wingspan of 8 metres. It had a 7-cylinder 50 HP rotary Gnome engine. Basil Watson flew this aircraft to Warrnambool in January 1917, becoming the first person to fly to Warrnambool, coming from Point Cook in one hour 55 minutes – an Australian cross-country flying record at that time. Watson amazed Warrnambool crowds with his dare-devil flying, looping the loop 14 times over the Warrnambool racecourse. He also brought with him the first aerial post to arrive in Warrnambool and the Warrnambool and District Historical Society has the letter he brought written by the Lord Mayor of Melbourne to the Mayor of Warrnambool. Two months after he was in Warrnambool Basil Watson was killed when his plane crashed near Point Cook in March 1917. Parts of the plane were salvaged and the seat was donated to the old Warrnambool Museum in 1918. It remained there until the museum was dismantled in the early 1960s and it was later passed over to the Warrnambool and District Historical Society. The tag on the seat today is an old Warrnambool Museum label. This is a most significant item as it is the original seat from the aeroplane of Basil Watson, an important early aviator in Australia’s history and it is also an early 20th century memento of the many treasures from the old Warrnambool Museum (1883-1963). The seat shows the primitive nature of early 20th century aeroplanes in Australia. This is a metal (galvanized iron) seat with a semi-circular base and a curved back stretching around from one end of the base to the other end. The back has a rolled metal edging on the base and the top. On the sides are two slots with a khaki-coloured cloth strap passing through the slots. This strap has a metal buckle at the end. The metal in the seat is somewhat blotched and discoloured. A luggage label is tied to one of the slots and has a name typed on it.Mr Watsonbasil watson, aviator, old warrnambool museum, history of warrnambool