The genesis of this work was an exploration of materials and sustainability, which led to the use of jute twine as the base material - a humble, sustainable fibre, and an unlikely material for the creation of 3D forms. Machine sewn with a simple zig zag stitch, the work contrasts the most basic of materials and equipment with the creation of beautiful and sophisticated objects. Embedded textures are constructed with a variety of threads, yarns and techniques, allowing the minimal palette to highlight serendipitous interplays of form and texture.Wangaratta Art Gallery Collection5 twine bowls of various sizes in a colour palette of black and cream.fiona gavens, textile, twine bowl

This item was donated to the museum by Joseph Dallimore. Dallimore was brought up at Lake Gillear, and as a young man he left Australia to travel overseas both to help his parent's business in the wool trade and for pleasure. He wrote many letters to his parents keeping them updated with the prices he received from selling wool and on his travels. Later in life Dallimore enlisted in the Australian Army and went on to have a distinguished career during the Boer War. He would have collected this piano whilst on service in South Africa.South African thumb piano from the Zulu culture. It is a wooden panel board with 15 iron finger keys in it. They are stuck onto the wood at one end with some sort of glue and also held in place by an iron rod passing over the top of them. At the bottom of the board is a metal panel and attached to that is a small circular cymbal. There is a string tying the metal panel to the wooden board.There are no original markings on this although the original museum label is still stuck to the bottom which says, ' Native piano ( Mashona)' on it in script.south africa, joseph dallimore. war, boer war, zulu, finger piano, music

Kate Hudson's highly patterned and decorative prints reflect her love of Australian birds and flowers from her immediate environment, as well as oriental art and her training in textile design. Her work is influenced by the Australian artist (printmaker) Margaret Preston and the vases depicted in her prints are based on the ceramic works of her husband Stephen Hudson. The wattle depicted is the Acacia Terminalis (Sunshine Wattle), a shrub or small tree that grows to six meters in height. It’s an Australian native commonly found in New South Wales, Victoria and Tasmania.A reduction coloured lino print. A ceramic vase with a black and white target print at its' centre holds a bunch of Acacia Terminalis (Sunshine Wattle). The vase rests on an orange table cloth decorated in white stylised flowers. The background is light pink. Hand written in pencil: low left '8/26'; bottom centre ' Wattle and Circle Vase'; low right 'Kate Hudson' hudson, linocut print, sunshine wattle, acacia terminalis, still life, margaret preston, ceramics, textiles, orient

Isobel Clement has been practising since the 1980's. She completed her post graduate diploma at Phillip Institute (RMIT) in 1990. She paints, draws and uses installation for creative discourse. She has had more than ten solo exhibitions. Her work is included in collections such as National Gallery of Australia, the Australian Print Workshop Archive, Art Bank Australia and The Bundanon Trust. She has been shortlisted for the contemporary painting prize, the Bayside Art Award, on three occasions in recent years and was the winner of the Nillumbik Prize in 2009.Isobel Clement is a local artist who won the 2008 Nillumbik Prize. Painted in monochrome the artwork depicts two vases (with decorative edges) and two cups on a table in a row. Each of the four objects are slightly different in scale and shape and parallel to the picture plane. N/Astill life, nillumbik prize, painting, monochrome, vases, cups

Portrait photograph of Rev Thos Evans First Minister at Stawell Baptist Church,Rev. Thos Evans who was the first Minister at Baptist Church. Portrait was once coloured as faint evidence can still be seen on image.ROBERTS & Co. by Special Application Photographers H.R.H. The Duke of Edinburgh and his Excellency the Governor Royal Studio Corner of Bourke & Elizabeth St. opposite the post office Melbourne. This or any other Portrait can be Enlarged up to Life Size. Copies may be had by sending name & N? " handwritten" Rev. Thos Evans who was first Minister of Church.stawell

From January 1959 and until 1982, “Cosmopolitan Motion Pictures”, owned by Mr Peter Yannoudes (Παναγιώτης Γιαννούδης) and Mr Stathis Raftopoulos (Στάθης Ραφτόπουλος) travelled around Australia to entertain the Greek, Turkish, Indian and Yugoslav speaking population of Australia and provide a significant cinema culture. They travelled as far as Perth in WA, Adelaide in SA, Tasmania, Darwin in Nt, Canberra in ACT and Sydney and NSW. However they found themselves also in places like Berri and Renmark in NSW, where concentrations of migrants lived and thrived during the period. Initially they were travelling by train, carrying all their equipment by hand and placing them in boxes and suitcases. However after 1962 when they acquired their first automobile, travelling became less of a burden, nevertheless cumbersome and laborious. They carried with them initially two portable projectors (second one as a backup) and at times travelled with a third in order to ensure that technology will not be letting them down at the time of film projection. At times the films were projected onto a white sheet of cloth because there was no proper screen to project it on at the venue they were using.Primary historic significance in the context that it was used, as well as rarity significanceMetal adjustable height, hand operated drill. Rusty appearance. It seems to have a small piece at the bottom broken off, but still in working order according to Mr P. Yiannoudes. This drill was used to drill holes in cinema light carbon sticks in order to extend their life.drill, carbon, film, entertainment, greek, language, hand, yiannoudes, γιαννούδης, τρυπάνι

Edo periodstill life, tea ceremony, seal, puppy, feather

Oil on canvasSigned, dated and inscribed verso

Oil on canvasSigned top left of painting.

Oil on canvasSigned and dated on reverse top left "Euan L Heng 85"

This photograph shows the interior of the Valley Worsted Mill in 1923. The mill was first established at this time, and the photo shows the interior after tooling up but prior to the mill actually commencing operation. This photo is one of 31 in total and shows several Noble combs. The donor worked at the Valley Mill for many years. This mill still exists in Swanston Street, Geelong and is now being used by Melba Industries (an Austrim-Nylex company) to produce Jumbuck Nylon wool packs. "These 12 machines ended their working life in 1981 when the mill switched from the Bradford system of wool combing to the Continental system, the reason being was that the cost of maintaining them became too high, also the replacement rectilinear combs production rate was far greater and achieved higher yields although it could be argued that the Noble combs quality was superior". - Greg AldridgeBlack and white image showing the interior of a textile mill with machinery. Slightly overexposed on the right side.valley worsted mill, combing, noble comb, geelong

Article written for Box Hill Historical Society describing the Aboriginal (Koorie) inhabitants of the Whitehorse region. This area was part of the estate of the Wurundjeri-bulluk clan of the Woiwurung Tribe. Kinship and marriage links with the people of the Goulburn River area are described. Daily life as hunter gatherers is described and the pattern of movements within the area. Several locations where traces are still found and where people lived after European settlement are listed. A bibliography is included. 2 pages.Article written for Box Hill Historical Societyaborigines, wurundjeri

These type of cigarette silks were included in WD & HO Wills cigarette packets to induce women in particular to take up smoking.|The Word 'Cartophilic?|It is believed that this unusual word was coined in the 1920s by Col. Bagnall, an Englishman, who was the father of the hobby of cigarette card and trade card collecting. It is thought to be a combination of a Latin word, 'carto' meaning 'card and the Greek word 'philic', meaning 'love'.- lover of cards. The term originally related to the collection of the two types mentioned, however, our Society has included postcards in the range of items collected by our members.|The Cigarette Card|The cigarette card began its evolution in the United States of America, in the early 1880s as a plain piece of cardboard used by tobacconists to protect the cigarettes which were sold in that era, not in packets, but loosely. A purchaser would buy his cigarettes then wrap them in paper around the small piece of cardboard, which acted as a stiffener. In fact, for many decades, cigarette cards were known as 'stiffeners' in the USA.|The card depicting 'The Marquis of Lome' is reputed to be the first known cigarette card issued. This is thought to have been in 1879. It did not take long for an enterprising entrepreneur to recognise the advertising potential of the cigarette card, and, very soon, the cards began displaying popular images, often in sets. This had the effect of youngsters, wishing to complete their sets, harassing their fathers to buy a specific brand of cigarettes. The kids who collected cards in the days when they were being issued in the cigarette packets, would hang around outside the local tobacconist's shop, pestering the men who had just bought a packet of cigarette, with the cry: 'can I have the cig can mister?'|It is a proven fact that, here in Australia during the 1930s, at least one set had one card deliberately withheld and issued very sparingly. This card is No. 86 (Mrs Jack Crawford) in the Carreras 'Turf Personality Series'. Thus, in a set of reasonably easy cards to get, this one card is a constant source of frustration for the collector, and as such, commands a premium when it comes to price. It is not hard to imagine the young collector nagging his to Dad to keep buying 'Turf' cigarettes to enable him to finish the set.|From small beginnings the cigarette card soon gave rise to a booming industry in itself. Artists and writers were|employed to produce the cards, which were miniature works of art and served as little encyclopaedia's for the children of the day. By the 1930s cards were being issued in the countless millions. It has been stated, in one book on the history of cards; that 450 million sets of a series produced and issued by the prolific issuer of cards in the United Kingdom, WD & HO Wills. As each set contained 50 cards you would need a calculator with a very long result window to see the answer to how many cards of that series were in circulation.|Australia's involvement would appear to have its beginnings with the English and American firms who shipped their tobacco products here and the cards of American Tobacco Company (ATC) are found in great numbers in early Australian collections; many featuring Australian subjects, e.g. 'Australian Parliament a 1901 issue. Earlier U.S. sets depicting Australians included Goodwin & Co's, so called. 'Australian Series' with cricketers and Australian Rules footballers who were on the sporting scene during the 1880s. The caption of one of theses cards reads:|'W.Hannysee. Captain Port Melbourne Football Club' which enables us to pinpoint the year of issue to either 1889 or 1890.|On the Australian scene the first local manufacturer who issued cards seems to have been The National Cigarette Company of Australia Proprietary Limited, whose 'Tally Ho' packets contained cards from a series of thirteen featuring the touring 'English Cricket Team 1897-8' Of the few Australian manufacturers who issued cards, only two companies issued more the two sets.|Undoubtedly the cards issued by the Melbourne firm Sniders & Abrahams (later Sniders & Abrahams Pty Ltd) are the 'jewels in the crown' of Australian card issues. They issued some thirty-three series, with numerous sub-series and allied issues such as metal badges, metal football shields, celluloid flags etc., which ensured that the hobbyist had a vast range from which to collect. Sporting themes – football, cricket, horse racing – dominate, indicating the Australians' love of sport and the outdoors was as strong in those earlier times as it is today. Military, animals and birds themes were also to the fore, with a touch of culture being provided by 'Shakespeare', 'Dickens', actresses and even classical 'Statuary'. Humour was not forgotten with 'Cartoons and Caricatures', 'Naval and Cricket (double meaning) Terms' and the 'Jokes' series. Art and history were covered by the artist, S.T. Gill's 'Views of Victoria in 1857' while the stereoscopic 'Views of the World' expanded the collectors' knowledge of the world as a whole.|The Sniders & Abrahams series began in 1904 and by 1919 the company was in decline and was eventually taken over by G.G. Goode & Co. Ltd. This company produced one set only, the highly collectable 'Prominent Cricketer Series' issued in 1924. During the early to mid-1920s, J.J. Schuh Tobacco Pty Ltd issued eight series, again containing the popular subjects of sport and war. At least two provincial tobacconists, Lentens of Bendigo and Baillies of Warrnambool, issued private football series. The last series of cards issued by a truly Australian firm was Dudgeon & Arnell's '1934 Australian Cricket Team'.|The Australian market was not neglected by the English companies with WD & HO Wills, Godfrey Phillips and Ogdens all making their contributions. By far the most active issuer was the long-established company Wills, whose 'Cricketers' of 1901 heralded the flood of Australian series, which continued into the mid-thirties.|The onset of the 1939-45 World War sounded the death knell of the cigarette card and very few post-war issues were made, certainly not here in Australia.|The Trade Card|The Trade Card is a non-tobacco item used by manufacturers to promote and advertise their products, in the same way that cigarette cards were. It is uncertain exactly when they were first produced, but in the USA, non-collectable cards were issued by firms in the early 1800s. These were more akin to a latter day 'business card'. It was not until the 1850s, when coloured and pictorial cards were issued to advertise and promote products that the Trade Card|became a collectable item. Many beautiful lithographic cards were produced in this early era and they are very mu sought after by collectors. By the 1870s the issues of Trade Cards became more prolific and it is from this era that more cards are seen.|Again, it is difficult to pinpoint the exact date of the first Australian Trade Card and it may be that the highly collectable and extremely rare 'American Candy Co's' - 'Pure Caramels' Australian Rules football card, issued i 1891, is the earliest series. This confectionery firm was located in Fitzroy, a Melbourne suburb. To date only two subjects have been seen.|Another early set was 'Flags', issued by F.H.Fauldings & Co. It featured testimonials of seven English cricketers who toured Australia with the 1894/5 Test team. Fauldings was an Adelaide based firm which manufactured medicinal toiletries, soaps and oils, using the distinctly Australian eucalyptus oil. During the 20th century a multitude of Australian businesses issued trade cards, with confectionery manufacturers such as Hoadleys, Allens, Sweetacres and Australian Licorice producing the majority of them. Again sporting themes dominated with the ever popular Aussie Rules football cards being the most numerous. Cricket issues ran a close second.|Apart from sporting cards, almost every subject imaginable was covered by the Trade Card, making it the most diverse and interesting branch of cartophilly. In contrast to the Cigarette Card, which had its demise prior to the Second World War, the Trade Card is still alive and well.|We all are aware of the long running 'Birds of Australasia' series put out by Tuck-fields Tea and 1 doubt if there is a kitchen drawer in Australia that has not got one or two of these informative and attractive cards floating about in it. These cards were first produced in the early 1960s and are still being inserted in that company's packets of tea. Such is also the case with Sanitarium Health Foods, manufacturers of the well known Weetbix, who began issuing cards, with a wide range of subjects, in the early 1940s and continue to do so.|The 1940s and 1950s saw the two breakfast food giants, Kornies and Weeties dominating the card scene. Kornies footballers were in production fora decade from 1948 to 1959. Four years later in 1963, we saw the start of four decades of Scanlens bubble-gum card issues, both football and cricket. In the mid 1990s, with the end of the Scanlens/Stimorol cards, the Trading Card came on the scene. These cards do not fit under the umbrella of the Trade Card, having been produced and marketed purely as a 'collectable' with no connection whatsoever to any product, which of course is necessary for an item to be classified as a Trade Card.|The earliest British postcard was issued in 1870 and was designed to send short messages; the stamp was printed on the card, therefore it did not require an envelope. It was considered by many to be lowering the postal standards because the texts were no longer private. However the cards were a great success as on the first day of issue in 1870, half a million passed through the London postal centre.|The first illustrated postcards are said to be those introduced by a French stationer in 1870. He realized that French troops fighting in the Franco-Prussian War needed to be able to send short messages to their families and designed a 'postcard' to suit the purpose. As many of the soldiers were illiterate they decorated their cards with sketches of their many activities at the front rather than writing; thus creating a picture postcard. Private enterprise soon saw the great financial possibilities of this new easy and attractive way of communication by post; also sending a postcard cost less than postage for letters. It was correctly assumed that postcards were likely to overtake letter writing in many instances.|Between 1875 and 1882 every state in Australia introduced official postcards, N.S.W. first and Tasmania last. Each state produced a simple type of postcard with a pre printed stamp allied to that state. The stamp side stated 'The Address Only To Be Written On This Side'; the reverse side sometimes carried a simple illustration or decoration with space fora short message, each state extolling their own state's virtues. In 1901, with the advent of Federation, the new Government became responsible for all postal services in Australia and produced postcards for sale in every state. With several mail deliveries each day in most towns, postcards were used for many purposes. One 1906 postcard, with an illustration of fruit, was sent from Mrs X in the morning to her greengrocer ordering her fruit and vegetables to be delivered that afternoon. Another lady asks her charlady to 'come this afternoon'.|Australian private enterprise also began selling pictorial postcards, most companies using the very experienced German printing works who were the worlds best in the field of lithography and fine detailed colour-printing. Many of these beautiful German cards still exist today, 100 years later. Australia did have a few fine printers but they were in the minority. Black and white postcards printed in Australia in the early 1900s were often of good quality e.g. postcards printed by 'The Bulletin', illustrating the works of 'The Bulletins' top artists.|Between c1903-09 The Melbourne company Osboldstone and Atkins etc. printed coloured reproductions of 46 J.A. Turner bush/rural life paintings, which were generally of good quality and became hugely popular and still sought after today. Like thousands of homes in Europe, Britain and U.S.A., many Australia homes had albums of cherished postcards, which were given pride of place for visitors to see and enjoy.|Postcard collecting remained popular but was changing with the times. About 1912 the Australian photographer George Rose of Melbourne began to produce topographical B/W real photographic postcards covering most of Australia and other photographers began to do likewise. These cards soon found their way into collections as well.|WWI and the horrors of war suddenly changed the world; postcards were still in great demand but the subject matter was far more serious. Thousands of postcards from the trenches in European war zones arrived in Australia to be included in family albums. Propaganda and recruitment messages were produced to encourage enlistment. Australian postcard producers began to create cards decorated with gum leaves, boomerangs, wattle etc., which were designed for sending to Australian troops serving overseas. Very few 'pretty' cards were available, as access to the Gentian printing works was no longer possible and exporting of postcards from Britain was very limited. By the end of WWI people had other more serious problems to contend with and the avid postcard collecting hobby declined, fold greetings took over and topographical photographic postcards became a small but steady income for the producers and newsagents etc. in every town.|Fortunately many of these old postcards still exist and are avidly collected by a new generation or postcard collectors. The Australian Cartophilic Society Inc. is one of four postcard/cigarette card organizations in Australia. They are, N.S.W. Post Card Collectors Society; Queensland Card Collectors' Society Inc. and West Australian Card Collectors|Society, and across the Tasman there is a New Zealand Postcard Society.|References:|Picture Postcards of the Golden Age A Collector's Guide by Toni & Valmai Holt. Picture Postcards in Australia 1898 - 1920 by David CookBox of Cigarette Silks ( 10 ) depicting animal motifs, which were placed in cigarette packets as an incentive for women in particular to smoke.|WD & HO Wills|Produced 1911 - 1917personal effects, smoking accessories, recreations, collections

In 1914, Mr and Mrs Arthur Hooke gave the name ‘Wandinong’ to their newly purchased property in Blackburn. The name was inspired by a recent cycling trip to Wandin in the foothills of the Dandenongs, as well as the title of a favourite book, Ethel Turner’s ‘The Camp at Wandinong’. Their property and the surrounding district had originally been owned by a series of property investors and speculators, and while some of it had been cleared for grazing, most of it was still covered in virgin bush; thickly covered with trees and undergrowth and rich in wild flowers and bird life. A small section of the Hooke’s property was cleared sufficiently to r\erect a house and some outbuildings, but the rest was left as n nature intended. Mar Arthur Hooke was a local property valuer but never owned a car, preferring to attend to business on his bicycle. He was still riding his bicycle in his eighties. Meanwhile, Mrs Hooke had developed a keen desire that the ‘Wandinong’ property remain intact; that it should ultimately be set aside as a place of refuge where like-minded people could go to enjoy peace and quiet amongst the native birds and bushland.|To this end, Mr and Mrs Hooke liaised with the Nunawading Council and an agreement was reached whereby the council would assume ownership of the property on their deaths. When Mr Hooke died in 1972, his wife transferred the land over to the council the following year. Mr and Mrs Arthur Hooke’s Grandson, William, and granddaughter, Christine, recently donated their grandmother’s bicycle to the Whitehorse Historical Society. They recall that their grandfather’s bicycle was given to a representative of the Nunawading Council for safekeeping some years ago. Ladies two wheel bicycle with tool bag attached & black leather seat. Two mud guards, a skirt guard & a reflector on the back mud guard. 'Kew Flyer' painted on front mud guard. Two rubber tyres & provision for a head light on the handle bars.'Kew Flyer'transport, bicycles

The flowers in this painting were grown and tended to with love by Hans Beck in Tatura Camp 3.A glass vase containing orange, white and yellow flowers. The vase half filled with water and is sitting on a wooden table. The background is a mustard colour. The painting has a gold frame and with linen matt.C Rippertstill life, oil painting, flowers

McCarthy, JUSTIN, Irish politician, journalist, novelist, and historian, b. at Cork, November 22, 1830; d. at Folkestone, England, June 24, 1912. He was the son of Michael McCarthy, and was educated at a private school in his native city. At the age of eighteen he obtained a position on the literary staff of the "Cork Examiner". In 1853 he went to Liverpool as a journalist; in 1860 became Parliamentary reporter of the London "Morning Star", which he edited later (1864-68). From 1868 till 1871 he lectured with great success throughout the United States of America and was one of the assistant editors of the New York "Independent". On his return to England he contributed frequently to the "Nineteenth Century", the "Fortnightly Review", and the "Contemporary Review", and for many years was leader writer for the London "Daily News". From 1879 till 1896 he was a member of the British Parliament, representing the Irish constituencies of County Longford, Derry City, and North Longford. In November, 1880, he joined the Irish Land League, which won so many victories for the Catholic peasantry; two years later he became chairman of the National Land and Labor League of Great Britain. In 1886 he revisited the United States. From 1890 till 1896 he was chairman of the Irish Parliamentary party in succession to Parnell, having previously been vice-chairman for many years. His courtesy and moderation won him the respect of all parties in Parliament. Though participating so actively in the political life of Ireland, McCarthy took more interest in letters than in politics. His first novel, "The Waterdale Neighbors", appeared in 1867, and was followed by about twenty others, many of which are still popular. Of these the chief are: "Dear Lady Disdain" (1875); "A Fair Saxon" (1873); "Miss Misanthrope" (1877) and "The Dictator" (1893). Other publications were: "Con Amore", a volume of essays (1868), and biographies of Sir Robert Peel (1891), Leo XIII (1896), and Gladstone (1897). McCarthy's popularity as a writer depends rather on his historical writings, which are always lucid, forceful, and wonderfully free from party spirit. Of these works the most important are: "History of our own Times" (7 vols., London, 1879-1905), dealing with the events from the year 1830 to the death of Queen Victoria and supplemented by "Reminiscences of an Irishman" (1899); "A short History of our own Times" (1888); "The Epoch of Reform, 1830-1850" (London, 1874); "History of the Four Georges" (4 vols., 1884-1901), of which vols. 3 and 4 were written in collaboration with his son, Justin Huntly McCarthy well-known as a novelist and play-writer; "Ireland and her Story" (1903); "Modern England" (1899); "Rome in Ireland" (1904). Failing health and old age could not induce McCarthy to lay down his pen, and even as late as November, 1911, he published his "Irish Recollections", describing with his wonted charm the events of his earlier life. He was an ardent advocate of Catholic rights, and, though he had been indifferent for many years, in his old age he returned to the practices of his religion. A.A. MACERLEAN [http://oce.catholic.com/index.php?title=Justin_McCarthy, accessed 3/12/2013]Image of a bearded man wearing glasses. He is Justin McCarthy, M.P.ballarat irish, justin mccarthy, cork

Daniel O’Connell was born near Cahirciveen, Co. Kerry, on 6 August 1775. His wealthy childless uncle adopted him at an early age and brought him up at Derrynane. He spoke Irish and was interested in the traditional culture of song and story still strong in Kerry at the time. He also understood how the rural mind worked which served him well in later years. In 1791 he was sent to school at St. Omer and Douai and what he saw there of the French Revolution left him with a life-long hatred of violence. He read law at Lincoln’s Inn (1794 -96) and continued his studies in Dublin where he was called to bar in 1798. He had soon built up an enormous practice. The 1798 rising and the terrible butchery that followed it confirmed his horror of violence. While he approved of the principles of the United Irishmen, their call for reform and for Catholic Emancipation, he disagreed with their methods. In 1815 O’Connell criticised harshly the Dublin corporation. O’Connell was challenged to a duel by one member D’Esterre. In the exchange of shots D’Esterre was killed and O’Connell vowed never to fight again. O’Connell was soon drawn into political action. Hopes of Catholic emancipation had been raised by promises given while the act of union was being passed. In 1823, O’Connell founded the Catholic Association. The aim of the organisation was to use all the legal means available to secure emancipation. It turned into a mass crusade with the support of the Catholic clergy. All members of the association paid a membership of a penny a month (the Catholic rent). This helped to raise a large fund. The Clare election in 1828 was a turning point. O’Connell, with the support of the forty-shilling freeholders, managed a huge victory against the government candidate. He was well supported by the clergy whose influence on the poor uneducated peasant class was enormous. The polling took place in Ennis at the old courthouse where the O’Connell monument now stands. At the final count, O’Connell was elected by a majority of about eleven hundred votes. The ascendancy party had suffered its first big knock since 1798. The whole country was aflame. The British Government feared a rising and granted Catholic emancipation in April 1829. The franchise was, however, raised to 10 pounds which excluded the forty-shilling freeholders. O’Connell was now the undisputed leader in Ireland and he gave up his practice at the bar to devote his time entirely to politics. At the King’s insistence, O’Connell was not allowed to take his seat until he had been re-elected for Clare. In February 1830, O’Connell became the first Catholic in modern history to sit in the House of Commons. For the rest of his life, he was supported by “The O’Connell Tribute”, a public collection out of which O’Connell paid all his expenses. O’Connell now decided to concentrate on winning repeal of the act of union and getting an Irish parliament for the Irish people. British political leaders feared repeal as they did not fear emancipation. They saw repeal of the Act of Union as the first step in the break-up of the act of union, as the spirit of the repeal movement was revived when the young Ireland writers wrote about it in the Nation. In 1841, O’Connell was elected Lord Mayor of Dublin and in 1843 the subscriptions to his Repeal Association, the Repeal “Rent” came to 48,400 pounds. He now began to organise monster meetings throughout the country. It is thought that three-quarters of a million people gathered on the hill of Tara to hear the man they called the “Liberator”. The government became alarmed at the strength of the Repeal Movement and a meeting which O’Connell had planned for 8 October 1843 in Clontarf, Dublin was banned. Huge crowds were already on their way when O’Connell called off the meeting to avoid the risk of violence and bloodshed. He was charged with conspiracy, arrested and sentenced to a year in jail and a fine of 2,000 pounds. The sentence was set aside after O’Connell had been three months in prison. When he was released he continued with his campaign for repeal. However, a turning point had been reached. The tactics that had won emancipation had failed. O’Connell was now almost seventy, his health failing and he had no clear plan for future action. There was discontent within the Repeal Association and the Young Irelanders withdrew. There was also some failure in the potato crop in the 1840’s, a sign of things to come in the Great Famine of 1845-1847. Aware of the fact that he had failed with his great goal, (the Repeal Movement), O’Connell left Ireland for the last time in January 1847. He made a touching speech in the House of Commons in which he appealed for aid for his country. In March, acting on the advice of his doctor, he set out to Italy. Following his death in Genoa on 15 May 1847, his body was returned to Ireland and buried in Glasnevin Cemetery. [http://www.clarelibrary.ie/eolas/coclare/people/daniel.htm, accessed 13/12/2013]Portrait of a man known as Daniel O'Connell.ballarat irish, daniel o'connell, o'connell

John Lundy-Clarke grew up in the Kalorama/Mt Dandenong area and later in life (1972-74) began to write a comprehensive history of the area working from an original settlement map in an effort to cover all areas. Harmony Vale was the name of the homestead built by early pioneer Jabez Richardson. The whole of the valley took on this name. The building lasted until 1933. The Silvan Dam was completed in 1932 and was full when this photograph was taken.Black and white photograph looking down over a forested area with a dam in the background. Copied from a Rose Series postcard c1933. Handwritten inscription on reverse by John Lundy-ClarkeRose Series photo of 1933 showing “Harmony Vale” still standing. Copied 1973 JLCharmony vale, silvan dam, jabez richardson