Used at the Ballarat School of Mines and the Ballarat Technical Art SchoolThis collection of examinations is significant because of its completeness with the full range of examinations between 1914 and 1950.Large leather bound books, with leather spine, containing all examinations held at the Ballarat School of Mines (including the Ballarat Technical Art School and Ballarat Junior Technical School). The examination papers were supplied and printed by the Education Department, Victoria. Examinations include: Agriculture, Algebra, Architecture, Arithmetic, Applied Mechanics, Assaying, Biology, Botany, Boilermaking, Building Design, Blacksmithing, Bricklaying, Carpentry and Joinery, Coachbuilding, Cabinet Making, Civil Engineering, Cabinet Making, Commercial, Chemistry, Engineering Drawing, Economics, English, Electrical technology, Electricity and Magnetism, Electric Wiring, Electric Welding, Electrical Fitting, Electrical Trades, Food Analysis, Geology, Geological Mapping, Graphics, Geometry, Heat Engines, Heat Treatment, Hydraulics, Hand Railing, Instrument Making, Millinery, Milling and Gearouting, Machine Shop Practice. Metal Founding, Mining, Metallurgy, Mineralogy, Mathematics, Motor Mechanics, Mine Surveying, Mining Mechanics, Petrology, Physics, Painting and Decorating, Pattern Making, Plastering, Plumbing and Gasfitting, Printing, Refrigeration, Spelling, Science , Shorthand, Surveying. Signwriting. Sheet Metalwork, Toolmaking, Ladies Tailoring, Trigonometry, Typewriting, Welding, Commercial Geography. Millinery, Dressmaking, Needlework, Decorative Needlework, Architecture, Building Design and Construction, Art (Composition in Form and Colour), Art (Casting Clay MOdels) Art (Drapery), Art (Drawing the Human Figure From Casts), Art (Drawing the Antique from Memory), Art (Drawing from Memory); Art (Drawing Plant Forms from Nature, Art (Drawing Plant Forms From Memory), Art (Drawing from Models and Objects), (Drawing From a Flat Example). Art (Drawing in Light and Shade from a Cast of Ornament or Lower Nature), Art (Drawing Ornament from the Cast), Art (Drawing from Models or Objects), Art (Drawing fro Dressmakers' and Milliners' Fashions), Art (Drawing With the Brush), Art (Drawing from a Flat Example); Art (Modelled Design), Art (General Design), Art (Embossed Leatherwork), Art (Practical Plane Geometry), Art (Practical Solid Geometry), Art (Geometrical Drawing), Carpentry and Joinery, Art (Human Anatomy), Art (Historic Ornament), Art (House Decoration), Art (LEttering), Signwriting, Art (Light Metalwork), Art (Modelling), Art (Modelling the Human Figure from a Life), Art (Stencilling); Art (Wood Carving) Refrigeration, Teaching, Boilermaking, Blacksmithing, Carpentry and Joinery, Coachbuilding and Carriage Drafting, Electric Wiring, Electrical Fitting, Graining and Marbling, Instrument Making , Machine Shop Practice, Metal Founding, Milling and Gear Cutting, Motor Mechanics, Painting and Decorating, Sheet Metalwork, Toolmaking, Printing, Pattern Making, Plumbing and gasfitting, examinations, ballarat school of mines, ballarat technical art school, trades, education department victoria, agriculture, algebra, architecture, arithmetic, applied mechanics, assaying, biology, botany, boilermaking, building design, blacksmithing, bricklaying, carpentry and joinery, coachbuilding, cabinet making, civil engineering, commercial, chemistry, engineering drawing, economics, english, electrical technology, electricity and magnetism, electric wiring, electric welding, electrical fitting, electrical trades, food analysis, geology, geological mapping, graphics, geometry, heat engines, heat treatment, hydraulics, hand railing, instrument making, millinery, milling and gearouting, machine shop practice, metal founding, mining, metallurgy, mineralogy, mathematics, motor mechanics, mine surveying, mining mechanics, petrology, physics, painting and decorating, pattern making, plastering, plumbing and gasfitting, printing, refrigeration, spelling, science, shorthand, surveying, signwriting, sheet metalwork, toolmaking, ladies tailoring, trigonometry, typewriting, welding., dressmaking, needlework, decorative needlework, architecture, building design and construction, art (composition in form and colour), art (casting clay models), art (drapery), art (drawing the human figure from casts), art (drawing the antique from memory), art (drawing from memory), art (drawing plant forms from nature, art (drawing plant forms from memory), art (drawing from models and objects), (drawing from a flat example), art (drawing in light and shade from a cast of ornament or lower nature), art (drawing ornament from the cast), art (drawing from models or objects), art (drawing for dressmakers' and milliners' fashions), art (drawing with the brush), art (drawing from a flat example), art (modelled design), art (general design), art (embossed leatherwork), art (practical plane geometry), art (practical solid geometry), art (geometrical drawing), art (human anatomy), art (historic ornament), art (house decoration), art (lettering), art (light metalwork), art (modelling), art (modelling the human figure from a life, art (stencilling), art (wood carving), teaching, coachbuilding and carriage drafting, graining and marbling, milling and gear cutting, commercial geography, exams, examination book

A postcard with 5 colour photographs of local attractions in and around Marysville in Victoria.A postcard with 5 colour photographs of local attractions in and around Marysville in Victoria. This postcard was produced by Nucolorvue Productions as a souvenir of Marysville.MARYSVILLE/ Victoria 1. Burrengeen Park in Winter./ 2. Steavenson Falls./ 3. Autumn tonings of Marysville./ 4. Olde Yarra Track Shoppe./ 5. Mountain Grey (Brushtail) Possum. NU-COLOR-VUE/ OF/ AUSTRALIA AFFIX/ STAMP/ HERE/ 18 MA002/ NCV 5408 ADDRESS/ POSTCODE Made in Australia Date Stamp MARYSVILLE VIC AUST DEAR MELISSA,/ HERE IT IS MELISA/ YOUR OWN CARD AS/ REQUESTED. I AM/ RELAXING IN FRONT OF/ A HUGE LOG FIRE AT/ THE MOMENT BEFORE/ ATTACKING A 4 COURSE/ MEAL FOR TEA. I/ HAVE SETTLED IN TO/ THIS WAY OF LIFE/ ALREADY AND AM THROUGH/ LY ENJOYING IT. LOTS/ OF PAINTING MATERIAL/ AROUND HERE TOO. HEATED/ POOL (SALT) IS BEAUT./ SEE YOU LATER/ Jess xx M/S MELISA THOMSON/ C/- COCA-COLA BOTTLERS/ 128 BRIENS RD/ NORTHMEAD 2152/ SYDNEY/ N.S.W. COPYRIGHT/ Nucolorvue Productions Pty. Ltd. Telephone: (03) 560-1788marysville, victoria, burrengeen park, steavenson falls, autumn, yarra track, mountain grey possum, brushtail possum, nucolorvue productions, postcard, souvenir

Artist Lindsay Edward and wife Jan built a house designed by Alistair Knox at 151 Old Eltham Road, Lower Plenty. See article on home designed by Alistair Knox for Lindsay Edward, teacher, at 151 Old Eltham Road, Lower Plenty. The home was originally featured on the cover of the January 1953 issue of Home Beautiful magazine and was revisited in the March 1969 issue. See registration record No. 01649. Lindsay Edward Biography: 1919: 26 August Lindsay Maurice Edward was born in Melbourne. 1937: 4 – 9 May Exhibition - Heidelberg art exhibition (SLV collection) 1939: Art student at the National Gallery of Victoria 1940: 7-14 October Exhibition Heidelberg art exhibition. (SLV collection) 1941: November - Exhibition Heidelberg Art Exhibition 1942: Lindsay was an art student living at this 14 Park Cres. Fairfield. Occupation Art student. He most likely painted this painting around this time. c.1942 – 1944: Enlistment for military service in World War 2 in Casino, NSW. 1944: Rank of Sergeant. 1944: Exhibition Seddon Galleries (Melbourne) 1945: Exhibition Seddon Galleries 1946: Exhibition Exhibition of Past Students of the National Gallery of Victoria 1947: Submitted “Self- portrait in the Archibald Prize, Art Gallery of NSW 1948: Lived in London for a year and married a fellow artist ? Knox. 1949: Returned from London 1949: Electoral Roll Residence– 16 Mount Street, Ivanhoe 1950: October Exhibition Stanley Coe Galleries, 435 Bourke Street, Melbourne 1951: 19 Nov. - 9 Dec. Exhibition An exhibition of present day art of Victoria Victorian 1951 Commemoration Committee in conjunction with the Victorian Artists' Society, 1951: (SLV Collection) 1953: October Exhibition Melbourne Contemporary Artists Exhibiton 1954: Exhibition Melbourne Contemporary Artists Exhibition 1958: Victorian artist and educator Lindsay Edward won the £500 prize for the wall decoration of the Queensland Library - . Edward was born in 1919 and had studied at the National Gallery of Victoria. In 1958 he was head of the painting section of the Royal Melbourne Technical College (now RMIT) and had only recently begun experimenting with mosaic. The Centennial mosaic covers a wall 68 feet (20.72 metres) in length and 14 feet (4.26 metres) high. In a Melbourne Age article in July 1958 Edward described the mural as ‘not a literal subject’ rather as ‘a basic formation of organic forms indicating growth and development’. 1960: Exhibition Eltham Art Show (SLV collection) 1963: Exhibition October 28-November 17 - Argus Gallery, 290 Latrobe Street, Melbourne and at Hassall's Roadside Gallery, Eltham and at Gallery A and at Russell Davis Art Gallery. (SLV Collection) 1963, 1967, 1977 and 1980: Electoral Rolls – Residence Old Eltham Road, Lower Plenty. Occupation Teacher 1966: Exhibition Art Show -Austin Hospital Appeal (Heidelberg) (SLV collection) 1970s: Head of Art Department RMIT where he established a fine art collection. 1982: Exhibition Bolitho Gallery Canberra http://nla.gov.au/nla.news-article116467780 1988: 28 July – Exhibition Recent Paintings Darwin Performing Arts Centre (SLV Collection) 1993: Exhibition Solander Gallery, Canberra 2007: January Died and is buried in Eltham Cemetery 2007: Obituary in Age Jun 2, 2007 - LINDSAY Edward's retirement as head of the fine art department at RMIT in August 1979 signalled the end of an important chapter in the art Sources: ART CONTEST. (1939, March 2). The Argus (Melbourne, Vic. : 1848 - 1957), p. 8. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article12103185 ART EXHIBITION AT HEIDELBERG (1941, November 25). The Argus (Melbourne, Vic. : 1848 - 1957), p. 6. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article8218682 ART EXHIBITIONS (1945, October 3). The Age (Melbourne, Vic. : 1854 - 1954), p. 7. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article205639922 EX-GALLERY STUDENTS' SHOW (1946, October 15). The Argus (Melbourne, Vic. : 1848 - 1957), p. 3. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article22386440 https://www.artgallery.nsw.gov.au/prizes/archibald/1947/ Art World Busy (1949, February 26). The Argus (Melbourne, Vic. : 1848 - 1957), p. 12. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article22706197 http://nla.gov.au/nla.news-article22781141 ART NOTES (1953, October 13). The Age (Melbourne, Vic. : 1854 - 1954), p. 2. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article206462733 Design, color in art show (1954, October 5). The Argus (Melbourne, Vic. : 1848 - 1957), p. 9. Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article23453359 https://artcollection.its.rmit.edu.au/?p=rmit-gallery-about Cinema (1993, October 7). The Canberra Times (ACT : 1926 - 1995), p. 7 (Good Times). Retrieved October 16, 2016, from http://nla.gov.au/nla.news-article127509819 Queensland Centenary Artwork (includes image) http://queenswharf.org/places/former-queensland-state-library-wall-decoration-and-sculpture/ Eltham Cemetery http://www.elthamcemetery.com/index.php/search oil on paper board 31.5 x 37.5 cm signed "Edward" lower rightInscribed on back "The Malt House Lindsay Edward 15 Park Cres Fairfield"fairfield, malt house, lindsay edward, home beautiful, home beautiful magazine, alistair knox

For this series - refer to Cat No's 9546.7, 9547.4, 9548.4, 9549.5. Items in the collection of "William John Sullivan" VX 57829. Refer Cat No. 9523P for his service record.1 - 4. Hardcover books with dust covers. Hardcover - cardboard, green buckram with dark blue print on front and spine. All books have a front cover illustration of a scroll and anchor with the words "FEAR GOD HONOUR THE KING" Dustcover - paper. All pages, cut, plain off white colour paper. Illustrated in black and white and colour photographs, paintings, maps, sketches and diagrams. 200 pages per book. All end papers illustrated. 1. "HMAS" 1942. Dust cover - dark blue print front and spine. Illustrated stylized white Ensign flag with naval personnel. 2. "HMAS MK II", 1943. Dust cover white print on dark blue and red colour background front and spine. Illustrated - white ensign flag. 3. "HMAS MK III" 1944. Dust cover - red and white print on front and spine. Pale blue background. Illustrated - white ensign flag. 4. "HMAS MK IV" 1945. Dust cover, white and orange print front and spine on orange and dark blue background. Front - illustrated silhouette of a ship's funnel and gun in foreground with the sea, palm trees and hills in the background. Back - photograph and information of Australian War Memorial, Canberra.book series, ran, ww2, william john sullivan

For this series - refer to Cat No's 9546.7, 9547.4, 9548.4, 9549.5. Items in the collection of "William John SULLIVAN" VX57829. Refer cat. No. 9523P for his service record.1. - 4. Hard cover book with dust covers. Hardcover - cardboard with green buckram. Dark blue print on front and spine. All pages, cut, plain, off white colour paper. Illustrated in black and white and colour photographs, paintings, maps, sketches and diagrams. 200 pages. Dust covers - paper. All end papers are illustrated. 1. "THESE EAGLES/ STORY OF THE RAAF AT WAR" 1942. Hard cover illustration - line drawings of an eagle in flight. Dust cover - dark blue and red print on front and spine. Pale blue background. Illustration - Eagle in flight and RAAF Roundel. 2. "RAAF LOG" 1943. Hard cover illustration, silhouette half portrait of an airman. Dust cover - white print on dark blue background front and spine. Illustration - blue, beige and white silhouette of an airman. 3. "RAAF SAGA" 1944 Hardcover illustration - silhouette of two aircraft. Dust cover - green and black colour print on front and spine. Illustration - air crew with two aircraft on the ground. 4. "VICTORY ROLL/ THE RAAF AT WAR" 1945. Dust cover white and black print on front and spine. Blue background. Illustration - silhouette three aircraft in flight. Back - photograph of Australian War Memorial, Canberra.book series, raaf, ww2, william john sullivan

The photograph shows the wreck of La Bella in Lady Bay, Warrnambool, Australia. It was probably taken on 11th November 1905, the morning after she was wrecked. “Foyle” written on the photograph is the name of Foyle’s Photographic studio. At the time of the photograph the studio was owned by both Charles and Lilian Foyle (sometimes known as Lillian or Lily), either of whom could have taken this photograph. They also worked together at a later date on the photographs, sketches and paintings of the famous and historical Pioneers’ Honour Board, which is currently on view in the Warrnambool Library. Foyles Photography was the studio of James Charles Foyle. He owned “Foyle’s Photo Card Studios” in Liebig St , Warrnambool, which operated between 1889 – 1919 . A letter to the editor (by Mr Edward Vidler) in the Melbourne Argus, 3rd August, 1907, mentions that in that year Warrnambool would celebrate its 60th anniversary of its proclamation as a town, and that talented local artist Miss Lily Foyle would paint 200 portraits in watercolour of the pioneers who settled in the district prior to 1860. The Pioneer Honour Board can still be seen on display in the Warrnambool Library. In the Warrnambool Standard, Dec. 1917, “Mr Foyle’s studio was awarded contract to decorate rail cars on newly opened Trans-Continental railway, assisted by his sister, Miss Findlay.” The subject of the painting, La Bella, has its own tragic story. Read on for further details … On November 10th, 1905, the Norwegian-built barquentine La Bella approached Warrnambool at the end of her 37 day voyage. She was carrying a cargo of timber from Lyttleton, New Zealand, in heavy seas and evening mist. (On its only other visit to Warrnambool a year earlier the master had gone to shore to find a tow. He returned to the ship to find the crew drunk and unwilling to take up their posts, even though the ship was dragging its anchors and in a dangerous position.) As Captain Mylius steered La Bella to Lady Bay Channel the ship was tossed onto its side by heavy breakers and ran aground on what is now known as La Bella Reef. The sea was so rough that it wrenched a one-and-a- half ton anchor from the vessel. Several attempts were made by parties of volunteers in lifeboats to rescue the stricken sailors, but the rough conditions made this difficult for the boats to get close enough to the ship and the parties had to return to shore. The La Bella’s crew became exhausted and sailors were being washed overboard, one by one. By sunrise only five of the twelve crew still clung to the wreck. A local fisherman, 25 year old William Ferrier, rowed his small dingy through the heavy seas and managed to rescue the captain, whilst the volunteer lifeboat crew rescued a further three sailors, returning to shore. Ferrier made a final attempt at rescue and was able to reach its stern as the conditions eased slightly, saving the last remaining, terrified sailor just before the ship broke up and sank. William Ferrier became a national hero as news of the daring rescue spread. He was awarded the Silver Medal for bravery by the Royal Humane Society and was honoured by the Prime Minister and the Governor. He was presented with several other awards for his daring rescue. Ferrier’s rescue efforts are one of the most heroic in Victoria’s shipwreck history. The wreck now lies in 13m of water and is home to an abundance of marine life. Flagstaff Hill’s La Bella Collection includes a rail holder from La Bella, a photograph of William Ferrier with four of the five men rescued, a rail holder from the ship and the letter from the Prime Minister and other Members of Parliament that was sent to William Ferrier to commend him for his bravery. La Bella has been protected under the Commonwealth Historic Shipwrecks Act (1976) as a Historic Shipwreck since 23 April 1982 (VHR S401). It is archaeologically significant as the remains of an international and inter-colonial passenger and cargo ship. Flagstaff Hill’s collection of artefacts from the La Bella is of historical and archaeological significance because of its association with the La Bella, which is on the Victorian Heritage Register, and because of the relationship between the objects. The collection represents aspects of Victorian history, and the letter to William Ferrier demonstrates how important his rescue efforts were to Victoria and Australia. Black and white photograph of the wreck of the sailing ship La Bella in the bay at Warrnambool. The photograph shows the ship lying on its side in rough sea, with mast and rope rigging hanging loosely. Several large rocks are also visible. The photograph is a rectangle shape, mounted on heavy card, with slightly ragged edges. The photographer’s name, a title for the photograph and the location are hand written in white along the bottom third of the photograph. The back of the photograph is blank. Printed in white hand writing “Foyle”, “WRECK OF “LA BELLA”, “W’Bool”foyle, la bella, william ferrier, lady bay, lifeboats, lilian foyle, lillian foyle, charles foyle, james foyle, royal humane society medal, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village

Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p181 The rare Eltham Copper Butterfly, Paralucia pyro-discus, was saved from near extinction by a community campaign in the late 1980s. Thanks to that effort, the butterfly, a form of the Fiery Copper Butterfly, with a wing span of only 2.5cm, can be seen in parts of Eltham and Greensborough from late November to April. As late as 1987 the butterfly was thought to be near extinction. But that year, entomologist, Michael Braby, found several colonies, including two major ones in natural bushland on Diosma Road, Eltham. However these were threatened with destruction, as their habitat was to be destroyed by a development of 71 houses. The colonies were on a 14 hectare subdivision owned by Esanda Finance, an ANZ Bank subsidiary. It would cost around $5 million, to reimburse the bank for the land. The butterfly, which depends on woodland, a stunted form of the Sweet Bursaria bush, and the Notoncus ant, was considered too fragile to relocate. Braby’s discovery led to a sometimes fiery two-year campaign, which even became an election issue. It involved the local community, local and state governments and the developer, before a compromise was reached. The larvae have an intricate relationship with the small black ant, Notoncus. During the day, the larvae shelter in nests made by the ants around the base of the trunk and roots of the Sweet Bursaria (Bursaria spinosa). The ants are thought to protect the larvae from predators and parasites, as they attend them from the nests to feed on the Bursaria leaves at night. In return, the larvae excrete a sugar solution, which the ants love to eat. The butterfly was first recorded in Victoria in 1893, and first collected scientifically from Eltham in 1931. But it was only officially named in 1951, by Victoria’s then top butterfly expert, David Crosby.2 However, from 1970, rapid housing development in Eltham destroyed much of the butterfly’s habitat. The discovery of several major colonies in 1987 met with great excitement, and 250 people attended the first local public meeting. The State Government commissioned Crosby to investigate how to protect the butterfly, and the council froze development for three weeks. Then Esanda agreed to suspend development for several months, until a compromise was reached. Crosby recommended that 62 of the 71 lots be kept to ensure the butterflys’ survival. However this would cost $1 million to $1.5million in compensation to Esanda. Greensborough MP Pauline Toner, launched a $1million fundraising campaign and many artists donated their works to the appeal. Toner offered Clifton Pugh’s painting Eltham Copper Country to millionaire Alan Bond for $1 million, after having heard that he had offered $6 million for the Van Gough painting Sunflowers. However Bond did not accept. The butterfly was considered a ‘hot’ election issue during the by-election, following Pauline Toner’s resignation. Liberal party candidate, Margaret Brown, was accused of falsely saying she had been involved in the butterfly campaign so as to win votes. Sadly, the $1million appeal fell short at $426,000, so a compromise was reached. The State Government donated the Education Department site on Eucalyptus Road, but only nine lots of the Diosma site were bought, and the rest of the development went ahead. On March 3, 1989, Ms Toner died, and the Eucalyptus Road site was named in her honour. Around 2000 the butterfly was further threatened by proposed developments on Pitt Street, facing the Pauline Toner Reserve and between Diosma and Nyora Roads. Fortunately the Friends of the ECB, with the Shire of Nillumbik, ensured that more habitat was made available. The butterfly now survives in seven sites in Eltham and Greensborough, including the main sites at the Pauline Toner Reserve on Eucalyptus Road, the Western and Eastern colonies on Diosma Road, and the Yandell Reserve in Greensborough.The butterfly survives also in Castlemaine and in the Kiata and Salisbury areas. However, it remains endangered.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 copper butterfly, sweet bursaria

William Kleinert (Friedrich John Wilhem Kleinert) made wine from the grapes he grew. The house was built in 1905 and was the home of William and Emily Kleinert from 1905. William was a coach-builder, wheelwright and blacksmith. He moved from Prahran to Surrey Hills. His son Ernest worked with him as a coach painter and also worked as a painter undertaking intricate hand painting on early cars. Their other son Martin played for the Surrey Hills Football Club. In return for the support given to the club by Mrs Emily Kleinert, it built a rotunda in South Surrey Park as a memorial to her. Alan Holt research: Lot 6 was sold to Martin Klienert by Karl Richter in 1860 together with a portion of another adjacent lot. From 1860-1885 Martin worked it as a market garden leasing some land for grazing when it was not required for gardening. He died in 1898. In a formal document, William declared he was the son of Martin "who purchased land in 1860, died in 1898 and the land has been continually occupied by father and family since. It has been cultivated as a market garden; when not being used for gardening it was let for cultivation and grazing." William died in 1939 and the property passed to his sons Martin and Ernest. The Kleinert land extended from Union Road to Essex Road. They ran horses, ducks and fowls and Emily Kleinert grew flowers. The Kleinert property later became the South Surrey Park. The family sold the land to the Camberwell Council in the 1950s. Ernest and Ida Kleinert lived on the corner of Scotsdale and Warrigal Roads. The donor of the photo Nada Harris, nee Kleinert, was Ernest and Ida's daughter. Ida lived to a good age (> 93 years) and in later life lived in Burwood.Black and white photo of a group of men and women posed against the backdrop of a timber house. Immediately behind the group is a large grape vine and drying racks can be seen to the left of the picture. The group is identified as: Standing L to R: Ernest Kleinert, Rose Kleinert, William and Emily Kleinert, ? (unidentified), Ida Kleinert (nee de Vasey) Seated (L to R): Martin Kleinert, Nada Kleinert (daughter of Ernest and Ida and 1st grand-daughter of William and Emily), great-grandmother Maria Radford, Ivy Kleinert.surrey hills football club, blacksmiths, wheelwrights, coachbuilders, harris, rotunda, william kleinert, vineyard, ernest kleinert, rose kleinert, ida kleinert (mrs), ida de vasey (miss), martin kleinert, nada kleinert (miss), ivy kleinert (miss), friedrich john wilhem kleinert, emily florence radford (miss), maria dina radford (mrs), maria dina aylwin (miss)

John COLLIER (1937- 2012) John Collier was born at Ballarat in 1937. He received a Diploma of Mining and a Diploma of Civil Engineering at the Ballarat School of Mines (SMB), later graduating from the University of Melbourne with a Bachelor of Engineering (Mining). Early in his career he received a Diploma of Accountancy from the Australian Society of Accountants. Collier believes his experience at SMB had a profound influence on his life, especially what he learnt in Geology, Engineering, Chemistry, etc., all of which he found beneficial to his later working life and he is proud of that association. Through his experience in the world-wide mining industry John Collier has made a major impact on the mining industry. He has been exploration leader for a large number of worldwide discoveries and farm-ins both major and minor. He has experience in every facet of the mining industry, and his record in identifying diamond opportunities include Australian (Argyle), Canada (Diabik), Zimbabwe, and the Brazil Pipe (Collier Falls). His success in diamond exploration may be unparalleled. John Collier also has significant success with lead-zinc, iron ore, coal, copper, gold-silver, petroleum, heavy minerals, nickel, uranium, industrial minerals, rare earths, and tin. In 2006 John Collier was made a Legend in Mining by the Australian Mining Industry. Over his last 10 years, he had become a passionate painter, holding several successful solo exhibitions. His naive style featured beautiful and unexpected colour combinations. Many of his most lauded paintings depicted mining scenes, harking back to his Ballarat days. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Two artworks by John Collier inspired by his alma mater, the Ballarat School of Mines. art, artwork, john collier, ballarat school of mines, alumni

Geoffrey MAINWARING (29 October 1912-13 April 2000) Born Adelaide, South Australia Geoffrey Mainwaring studied at the South Australian School of Arts and Crafts before becoming an art teacher at Thebarton Technical School (1928-36). Mainwaring was adept at depicting a variety of subjects, from landscapes to portraits, and was very competent using a variety of media, including pencil, oils, and watercolour. He was a confident draftsperson, and completed many sensitively rendered portraits that give an insight into the character of the sitter. In June 1941 Geoffrey Mainwaring (SX13471) joined the 2nd Australian Imperial Force, and after five months was transferred to the Engineers and employed as a Sergeant-Instructor, specialising in demolitions. In late 1942, he was sent to New Guinea as an Australian army artist on probation. On 27 May 1947, Mainwaring was discharged from the Army, having served for five and a half years. He was appointed as an artist on a civilian basis until his paintings were completed in March 1948. In 1949 he was appointed Head of the Art School at the Ballarat School of Mines (now Federation University Australia). He continued to paint commissioned portraits for the Australian War Memorial until the late 1950s. Geoffrey Mainwaring died at Ballarat in April 2000. David Alexander was a medical doctor in Ballarat for many years. Alongside his medical work he was a committed artist, producing a large body of work over his lifetime. He was an instigator of the Federation University Art Collection and was a great supporter of local artists. Geoff Mainwaring taught painiting at the Ballarat Technical Art School, a division of the Ballarat School of Mines. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed portrait of Dr David Alexander by Geoffrey Mainwaring. Gift of David Alexander, 2014art, artwork, david alexander, available, ballarat technical art school, portrait, geoff mainwaring, mainwaring, australian war artist

The extensive formal landscaped gardens of Rockingham had been created in the 1860s, and by the 1950s remained bordered to the south by the Barkers Road cutting, and to the north by Blytheswood, the neighbouring Syme family property, By 1940, the Syme family were no longer the occupiers of Rockingham. John Herbert Syme had died in October 1939, and by August the following year, his wife had made the house and garden available, rent free to the Red Cross as a convalescent home for Australian soldiers injured in the Second World War. At the time, the house was described as containing twenty rooms, including a ballroom and a billiards room, with a garden of eight acres overlooking the Yarra. The task of renovating the house to conform to its new function as a convalescent home took a year, finally opening in August 1941. Community support for Rockingham was widespread and included the decision by the National Gallery of Victoria to loan pictures from its collection to decorate the walls. Calls were made for women around Victoria to donate fruit and vegetables from their gardens, which the railways agreed to freight for free. Other local support included the work by a team of boys to establish a three-acre vegetable garden within the formal terraced gardens. From the beginning, occupational therapy formed a key component of the rehabilitation of psychologically injured soldiers. This is confirmed by contemporary newspaper accounts of weaving, ironwork, leatherwork, basketry and gardening by patients. Numerous photographs, held by the Australian War Memorial (AWM) and the State Library of Victoria (SLV), record the importance of these rehabilitation activities. The painting of the view across the river to Abbotsford may have been painted in one of these occupational therapy sessions. For many decades it hung in the occupational therapy room. It must have been on view following the sale of Rockingham by the Syme family to the Red Cross in 1955, and subsequently, until the house was demolished and its grounds finally subdivided in 1977.View of Abbotsford from the garden of Rockingham (1952) was created by V Maloney. The vantage point of the artist was the garden of Rockingham, one of two mansions overlooking the Yarra owned by the Syme family. The artwork depicts a number of sites - especially factories - that have since been demolished.Signed by the artist, lower right "V Maloney"rockingham red cross convalescent home, hospitals - kew (vic), rosemary lade, art therapy

ABOUT THE ARTIST – Philip James Gray “Philip is one of Australia’s leading maritime artists and his meticulous research and social commentary paintings of ships, such as, the Loch Ard and Schomberg form an important part of Warrnambool’s Flagstaff Hill Maritime Museum.” [ref. Dr Marion Manifold, Artist and Art Historian, 2014] Philip James Gray was born in London but has lived most of his life in Australia. He graduated from a London school of art as an illustrator, specialising in technical and scientific illustration as well as other commercial and applied art. He was also a student for a time of Fyffe Christie - British figurative artist, mural painter and humanitarian – who had a great influence on his career. Philip has always worked as a professional artist and illustrator. Many publications on maritime history have featured his work. His paintings have been released and sold all over the world as limited edition prints. The State Library of Victoria’s ‘Latrobe Collection’ holds two of his paintings. His street painting of ‘The Ashes Contest’ decorates the brick wall of Old Bakery Laneway in Sunbury and a Sunbury café owner commissioned him to paint the ‘Sunbury Pop Festival’ as a remembrance of local history. [ref. Sunbury Leader, Nov 15 2013] Philip has been an active member of the Sunbury Art Society in Victoria for several years, serving on the committee for some of that time and being involved in exhibitions. He enjoys helping new artists and sharing his skills and experience. [other references: Sunbury Art Society Inc. Oct-Nov 2012] HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Print of the sailing ship Loch Ard by artist Philip J. Gray, 1993. Depicts the Loch Ard in full sail at sea, figures on deck. Limited Edition number 54/925. Print is adhered to a piece of chipboard and is stamped by the framer, Ian's Picture Framing of Warrnambool.Signature of "Philip J. Gray" , "54/925" Stamped on back "IAN'S PICTURE FRAMING, 48 KEPLER STREET, WARRNAMBOOL 3280, PH: (055) 628 022, FAX: (055) 628 145"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, print, philip j. gray

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.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, great hall, montsalvat

The King family lived in Tawonga South where my older brother and sister went to school. We lived over the road from Wally Madison's farm. Later when a house became available, we moved into Valley Avenue, Mt Beauty. This is when I turned 5 and started my schooling. It was a long walk for a 5 year old as I remember. Then later we moved to 50 Lakeside Ave. I remember we loved living there as it was close to the school, footy ground and kindergarten. My father, Ted King, wad a carpenter and was involved in the building of many houses in Mt Beauty which was the home for the workers on the Kiewa Electric Scheme. So as they are part of the history of Mt Beauty I thought they may be useful to you as part of the history. The tennis photos, I vaguely remember Lou Hoad and Ken Rosewell giving exhibition matches in Mt Beauty. I may stand corrected on this, but I do remember my parents who were keen tennis players themselves were most excited at seeing these famous tennis players. As I was only 9 when we left Mt Beauty to live in Dimboola I still remember the shock of leaving a beautiful mountainous county side and arriving in a flat farming land next to a desert and seeing windmills One thing I do remember from school is, once a week (or fortnight) the teacher used to come around with a jar of little white pills, of which we were all to take. I really don't know what they were?? or for?? I also remember being taught to swim in the freezing cold river by a Mrs Smith who wore black bathers and wore her hair in a bun...... ...I am now in my 70s My father used to also carve intricate trays and jewellery boxes in his spare time. I think they were used for tennis trophies. by Diane Werner.x33 photos of small black and white photos of the Tawonga, Tawonga South and Mt Beauty - Photos not labelled but described as follows. See each photo for a possible label. A. Tawonga? B. Mt Beauty taken on the road to Bogong ? C. SEC Works D. Industrial buildings with mountains in the background E. Building site with wooden frame and 3 men F. Buildings with power poles G. Building site with lots of huts H. Buildings under construction I. Group of houses in the distance J. Group of houses in the distance K. Group of people in front of a building L. Group of 8 men sitting on timber planks, corrugated iron at back. M.& N. Building site with floor and upright timbers O. Mountain view with camp site in foreground P.& Q. Buiding site, several houses R.5 men at a building site S. portable building on trailer T & U. Mountain view V. Building site W. Group of men, car and mountains in background X. Cows Y. Pigs Z. 2 men standing next to cars. AA. Football players BB. Man painting a corrugated iron building CC. Football DD. Men in front of a building EE Buildings with mountains in background FF & GG Tennis payersHH & II. Electricity infrastructure

The Ballarat School of Mines was the first school of mines in AustraliaA scrapbook of news clippings relating to the Ballarat School of MInes, including: 1954 - Barry Singleton 1954 - Neville Bunning 1954 - Victor Greenhalgh and his sculpture of King George V 1954 - Road Deviation in Hickman Street near White Flat 1954 - John Skuka naturalisation 1954 - Fire Danger in Vale Park 1954 - retirement of William J. Paterson from the staff of the Ballarat Junior Technical School 1954 - First pottery exhibition, featuring local clays. 1954 - New Technical school start in Ballarat North 1955 - Removal of caretaker's Cottage 1955 - Air Training Corps Cadets 1955 - Fluoridation 1955 - I.G. Witcher 1955 - Graham Willey, football 1955 - Image of L. Wilson, head teacher of the Ballarat North Technical School 1955 - Ballarat Girls' Technical School takes shape at White Flat. 1955 - Ballarat Junior Technical School Pine Plantation at Nerrina 1955 - Lake water test by W.G. Cornell 1955 - John Rowell 1956 - Geoffrey Mainwarring painting Lieutenant F.A. Reiter 1956 - Pittong Mine 1956 - Atom Bombs and rain 1956 - Ballarat Gaol and the Ballarat School of MInes 1956 - William Paterson and A.W. Steane of the Ballarat Junior Technical School 1957 - Ballarat "Junior Tech" Has a Bright History 1957 - Brelaz Scholarship for School of Mines (scrap book, ballarat school of mines, ballarat gaol, nerrina, caretaker's cottage, geoffrey mainwarring, gymnasium, noel flood, neville bunning, art lending library

Mawul Rom Project: Openness, obligation and reconciliation Morgan Brigg (Universtiy of Queensland) and Anke Tonnaer (University of Aarhus, Denmark) Aboriginal Australian initiatives to restore balanced relationships with White Australians have recently become part of reconciliation efforts. This paper provides a contextualised report on one such initiative, the Mawul Rom crosscultural mediation project. Viewing Mawul Rom as a diplomatic venture in the lineage of adjustment and earlier Rom rituals raises questions about receptiveness, individual responsibility and the role of Indigenous ceremony in reconciliation efforts. Yolngu ceremonial leaders successfully draw participants into relationship and personally commit them to the tasks of cross-cultural advocacy and reconciliation. But Mawul Rom must also negotiate a paradox because emphasis on the cultural difference of ceremony risks increasing the very social distance that the ritual attempts to confront. Managing this tension will be a key challenge if Mawul Rom is to become an effective diplomatic mechanism for cross-cultural conflict resolution and reconciliation. Living in two camps: the strategies Goldfields Aboriginal people use to manage in the customary economy and the mainstream economy at the same time Howard Sercombe (Strathclyde University, Glasgow) The economic sustainability of Aboriginal households has been a matter of public concern across a range of contexts. This research, conducted in the Eastern Goldfields of Western Australia, shows how economically successful Aboriginal persons manage ?dual economic engagement?, or involvement in the customary economy and the mainstream economy at the same time. The two economies sometimes reinforce each other but are more often in conflict, and management of conflicting obligations requires high degrees of skill and innovation. As well as creating financially sustainable households, the participants contributed significantly to the health of their extended families and communities. The research also shows that many Aboriginal people, no matter what their material and personal resources, are conscious of how fragile and unpredictable their economic lives can be, and that involvement in the customary economy is a kind of mutual insurance to guarantee survival if times get tough. Indigenous population data for evaluation and performance measurement: A cautionary note Gaminiratne Wijesekere (Dept. of Families, Housing, Community Services and Indigenous Affairs, Canberra) I outline the status of population census counts for Indigenous peoples, identifying information on Indigenous births and deaths, and internal migration estimates. I comment on the ?experimental? Indigenous population projections and question the rationale for having two sets of projections. Program managers and evaluators need to be mindful of limitations of the data when using these projections for monitoring, evaluating and measuring Indigenous programs. Reaching out to a younger generation using a 3D computer game for storytelling: Vincent Serico?s legacy Theodor G Wyeld (Flinders University, Adeliade) and Brett Leavy (CyberDreaming Australia) Sadly, Vincent Serico (1949?2008), artist, activist and humanist, recently passed away. Born in southern Queensland in Wakka Wakka/Kabi Kabi Country (Carnarvon Gorge region) in 1949, Vincent was a member of the Stolen Generations. He was separated from his family by White administration at four years of age. He grew up on the Cherbourg Aboriginal Reserve in the 1950s, when the policies of segregation and assimilation were at their peak. Only returning to his Country in his early forties, Vincent started painting his stories and the stories that had been passed on to him about the region. These paintings manifest Vincent?s sanctity for tradition, storytelling, language, spirit and beliefs. A team of researchers was honoured and fortunate to have worked closely with Vincent to develop a 3D simulation of his Country using a 3D computer game toolkit. Embedded in this simulation of his Country, in the locations that their stories speak to, are some of Vincent?s important contemporary art works. They are accompanied by a narration of Vincent?s oral history about the places, people and events depicted. Vincent was deeply concerned about members of the younger generation around him ?losing their way? in modern times. In a similar vein, Brett Leavy (Kooma) sees the 3D game engine as an opportunity to engage the younger generation in its own cultural heritage in an activity that capitalises on a common pastime. Vincent was an enthusiastic advocate of this approach. Working in consultation with Vincent and the research team, CyberDreaming developed a simulation of Vincent?s Country for young Aboriginal and non-Aboriginal persons from the Carnarvon Gorge region to explore Vincent?s life stories of the region. The use of Vincent?s contemporary paintings as storyboards provides a traditional medium for the local people to interactively re-engage with traditional values. Called Serico?s World, it represents a legacy to his life?s works, joys and regrets. Here we discuss the background to this project and Vincent?s contribution. A singular beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land RG Gunn (La Trobe University) and RL Whear (Jawoyn Association) Samples from a beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land were analysed for radiocarbon and dated to be about 150 years old. An underlying beeswax figure was found to be approximately 1100 years old. The Dreaming Being Namarrkon is well known throughout Arnhem Land, although his sphere of activity is concentrated around the northern half of the Arnhem Land plateau. Namarrkon is well represented in rock-paintings in this area and continues to be well represented in contemporary canvas-paintings by artists from the broader plateau region. We conclude that representations of Namarrkon in both painted and beeswax forms appear to be parallel manifestations of the late Holocene regionalisation of Arnhem Land. ?Missing the point? or ?what to believe ? the theory or the data?: Rationales for the production of Kimberley points Kim Akerman (Moonah) In a recent article, Rodney Harrison presented an interesting view on the role glass Kimberley points played in the lives of the Aborigines who made and used them. Harrison employed ethnographic and historical data to argue that glass Kimberley points were not part of the normal suite of post-contact artefacts used primarily for hunting and fighting or Indigenous exchange purposes, but primarily were created to service a non-Indigenous market for aesthetically pleasing artefacts. Harrison asserted that this market determined the form that these points took. A critical analysis of the data does not substantiate either of these claims. Here I do not deal with Harrison?s theoretical material or arguments; I focus on the ethnographic and historical material that he has either omitted or failed to appreciate in developing his thesis and which, in turn, renders it invalid. The intensity of raw material utilisation as an indication of occupational history in surface stone artefact assemblages from the Strathbogie Ranges, central Victoria Justin Ian Shiner (La Trobe University, Bundoora) Stone artefact assemblages are a major source of information on past human?landscape relationships throughout much of Australia. These relationships are not well understood in the Strathbogie Ranges of central Victoria, where few detailed analyses of stone artefact assemblages have been undertaken. The purpose of this paper is to redress this situation through the analysis of two surface stone artefact assemblages recorded in early 2000 during a wider investigation of the region?s potential for postgraduate archaeological fieldwork. Analysis of raw material utilisation is used to assess the characteristics of the occupational histories of two locations with similar landscape settings. The analysis indicates variability in the intensity of raw material use between the assemblages, which suggests subtle differences in the occupational history of each location. The results of this work provide a direction for future stone artefact studies within this poorly understood region.document reproductions, maps, b&w photographs, colour photographskimberley, mawul rom project, 3d computer game, storytelling, vincent serico, beeswax, namarrkon, artefact assemblages, strathbogie ranges, groote eylandt, budd billy ii

One of seven sites in Eltham and Greensborough where the butterfly survives. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p181 The rare Eltham Copper Butterfly, Paralucia pyro-discus, was saved from near extinction by a community campaign in the late 1980s. Thanks to that effort, the butterfly, a form of the Fiery Copper Butterfly, with a wing span of only 2.5cm, can be seen in parts of Eltham and Greensborough from late November to April. As late as 1987 the butterfly was thought to be near extinction. But that year, entomologist, Michael Braby, found several colonies, including two major ones in natural bushland on Diosma Road, Eltham. However these were threatened with destruction, as their habitat was to be destroyed by a development of 71 houses. The colonies were on a 14 hectare subdivision owned by Esanda Finance, an ANZ Bank subsidiary. It would cost around $5 million, to reimburse the bank for the land. The butterfly, which depends on woodland, a stunted form of the Sweet Bursaria bush, and the Notoncus ant, was considered too fragile to relocate. Braby’s discovery led to a sometimes fiery two-year campaign, which even became an election issue. It involved the local community, local and state governments and the developer, before a compromise was reached. The larvae have an intricate relationship with the small black ant, Notoncus. During the day, the larvae shelter in nests made by the ants around the base of the trunk and roots of the Sweet Bursaria (Bursaria spinosa). The ants are thought to protect the larvae from predators and parasites, as they attend them from the nests to feed on the Bursaria leaves at night. In return, the larvae excrete a sugar solution, which the ants love to eat. The butterfly was first recorded in Victoria in 1893, and first collected scientifically from Eltham in 1931. But it was only officially named in 1951, by Victoria’s then top butterfly expert, David Crosby.2 However, from 1970, rapid housing development in Eltham destroyed much of the butterfly’s habitat. The discovery of several major colonies in 1987 met with great excitement, and 250 people attended the first local public meeting. The State Government commissioned Crosby to investigate how to protect the butterfly, and the council froze development for three weeks. Then Esanda agreed to suspend development for several months, until a compromise was reached. Crosby recommended that 62 of the 71 lots be kept to ensure the butterflys’ survival. However this would cost $1 million to $1.5million in compensation to Esanda. Greensborough MP Pauline Toner, launched a $1million fundraising campaign and many artists donated their works to the appeal. Toner offered Clifton Pugh’s painting Eltham Copper Country to millionaire Alan Bond for $1 million, after having heard that he had offered $6 million for the Van Gough painting Sunflowers. However Bond did not accept. The butterfly was considered a ‘hot’ election issue during the by-election, following Pauline Toner’s resignation. Liberal party candidate, Margaret Brown, was accused of falsely saying she had been involved in the butterfly campaign so as to win votes. Sadly, the $1million appeal fell short at $426,000, so a compromise was reached. The State Government donated the Education Department site on Eucalyptus Road, but only nine lots of the Diosma site were bought, and the rest of the development went ahead. On March 3, 1989, Ms Toner died. Thee Eucalyptus Road site was named in her honour. Around 2000 the butterfly was further threatened by proposed developments on Pitt Street, facing the Pauline Toner Reserve and between Diosma and Nyora Roads. Fortunately the Friends of the ECB, with the Shire of Nillumbik, ensured that more habitat was made available. The butterfly now survives in seven sites in Eltham and Greensborough, including the main sites at the Pauline Toner Reserve on Eucalyptus Road, the Western and Eastern colonies on Diosma Road, and the Yandell Reserve in Greensborough.5 The butterfly survives also in Castlemaine and in the Kiata and Salisbury areas. However, it remains endangered.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 copper butterfly, pauline toner butterfly reserve

Warrandyte artist, Clara Southern, features on the Artists Trail. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p189 Since early in the 20th century this district has attracted artists and other creative people. So much so, that Eltham has been compared to the Left Bank in Paris, New York’s Greenwich Village and London’s Bloomsbury. That is until the 1970s when Eltham rapidly expanded into a suburb. However many artists still flourish not only in Montsalvat, Dunmoochin and the Bend of Islands but elsewhere in Nillumbik. Some artists who have worked or lived in Nillumbik are well-known nationally and internationally. Artists are attracted to the hilly district’s subtle colours, unique light and the Yarra River and Diamond Creek. The railway’s extension to Eltham in 1902 brought artists to paint for the day or to camp. Then many settled in Eltham, perhaps also because the poor quality land, far from the city, was cheap. Following World War Two they found they could build houses and studios cheaply by making their own mud-bricks. The flexible material, with its warm tones blending into the bush, also satisfied their aesthetic sensibilities. As early as 1900, Will Longstaff, known for his painting The Ghosts of Menin Gate at the National War Memorial in Canberra, lived at Stanhope in Peter Street, Eltham, later to become the home of intellectuals Clem and Nina Christensen. Members of Australia’s first significant art movement, the Heidelberg School of Artists, painted in Eltham, Warrandyte and Diamond Creek. Walter Withers lived at the corner of Bolton and Brougham Street, Eltham and taught Sir Hans Heysen, who for a short while stayed with the Withers family. In Warrandyte were Clara Southern, whom Frederick McCubbin taught at the National Gallery School and Penleigh Boyd, who is represented in all Australian state galleries and the National Collection in Canberra. May Vale, daughter of politician William, lived in Diamond Creek. With Jane Price they feature on the Heidelberg School Artists Trail, part of which runs through Nillumbik. The trail includes signs each displaying a reproduction of a painting by an artist and located near where the artist lived or painted. In Nillumbik the trail includes parts of Warrandyte, Eltham in the Alistair Knox Park, Main Road shopping precinct and Wingrove Park, the Research walking track on Main Road and the Diamond Creek Reserve. In 1916 artist William ‘Jock’ Frater lived at the corner of Arthur and Bible Streets, Eltham. Before then, Frater, with other artists including Percy Leason (who moved to Eltham in the mid 1920s) painted in Eltham on weekends. They camped near Bible and Pitt Streets and along the Diamond Creek where the Eltham Retirement Centre now stands.4 In 1921, painter Peter Newbury (father to painter David Newbury, who was born in Eltham) moved to Cromwell Street, Eltham. Max Meldrum, the first Australian painter to formulate a consistent theory of art largely based on tone,5 taught local artists Alan Martin, Clarice Beckett, Peter Glass and Justus Jörgensen. Meldrum visited Eltham then rented a house there for 18 months opposite Wingrove Park. In 1934, artist and architect Justus Jörgensen and his doctor wife Lil and friends built Montsalvat, the artists’ colony. Montsalvat has played an important part in attracting artists to Eltham and its mud-brick, pisé, stone and recycled building materials has had a major influence on Eltham’s built environment. Jörgensen’s students who also helped him build Monstalvat included Arthur Munday, Lesley Sinclair, Helen Lempriere, Joe Hannan, Helen, Sonia and jeweller/sculptor, Matcham Skipper. Among artists who visited Montsalvat were Clifton Pugh and Angry Penguins’ artists Albert Tucker and Arthur Boyd. Some who painted after World War Two were Alan Martin of Eltham and Warrandyte artists Frank Crozier and Harry De Hartog6, one of Melbourne’s first painters influenced by Cubism.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, clara southern, main road, research (vic), heidelberg school artists trail

This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl.   Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna.

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

A trail travels through the Arboretum where you may see resting kangaroos and wallabies, crosses a creek that holds a vulnerable colony of frogs commonly known as Victorian Smooth Froglet (Geocrinia victoriana), and admire the grass trees (Xanthorrhea australis) that grow on the campus behind accommodation. In 2018 2000 native trees planted by State Library Victoria and Federation University in the Arboretum .Planted with the help of locals, students, and kindergarten children as part of the joint project the plantings included indigenous trees, shrubs and grasses native to Ballarat. Federation University student Clancy Meaney is managing the tree planting project as part of her studies. “The arboretum is a fantastic resource that is used extensively by Federation University students as an outdoor classroom,” Ms Meaney said. “Being situated in between two main forests, our campus is also an important connection for native animals. These new trees will help migrating wildlife to move from one forest to the other.” State Library Victoria Project Management Office Director, Sarah Slade said the project was a wonderful opportunity to work with Mount Helen residents and the University to help protect the native landscape. “We’re thrilled to be able to give back to students, local residents and native flora and fauna through this valuable environmental initiative,” Ms Slade said. The tree planting project is a result of State Library Victoria’s ongoing partnership with Federation University. Construction of the Library’s second state-of-the-art storage facility, BOSS2 (Ballarat off-site store 2), is currently underway on the Federation University site. The existing storage facility at the Mount Helen Campus already holds more than half of the State Library’s collection, including newspapers, books, journals, textiles, paintings, architectural drawings, furniture and photographic glass plate negatives. In addition to State Library collection, BOSS2 will also provide two dedicated storage areas for the University’s collection. When completed, BOSS2 will provide additional storage of 25-30 linear kilometres, the equivalent of driving from Ballarat to Clunes or running 175 lengths of the MCG. The Mount Helen Campus Arboretum was established c1992.arboretum, mt helen campus arboretum, graeme ambrose, mt helen campus

The Launch Master Frederick Heather was licensed to be Master of Launches within the Port of Launceston. Amongst the vessels that he captained was the S.S. ROWITTA. Fredrick’s son is one of the volunteers at the Low Head Pilot Station Museum, Frederick Heather is also related to a Harry Heather from Tasmania and was also a ship master, one of his ships being the "Alma Doepel", a sailing schooner built in 1903 and sailed by Harry for about 21 years until his death in 1937. Flagstaff Hill’s collection includes a painting of the Alma Doepel. SS ROWITTA: - The 1909 steam ferry, SS Rowitta, was installed as an exhibit at Flagstaff Hill in 1975 and was enjoyed by many visitors for 40 years. Rowitta was a timber steam ferry built in Hobart in 1909 using planks of Huon and Karri wood. It was a favourite of sightseeing passengers along Tasmania’s Tamar and Derwent rivers for 30 years. Rowitta was also known as Tarkarri and Sorrento and had worked as a coastal trading vessel between Devonport and Melbourne, and Melbourne Queenscliff and Sorrento. In 1974 Rowitta was purchased by Flagstaff Hilt to convert into a representation of the Speculant, a historic and locally significant sailing ship listed on the Victorian Heritage Database. (The Speculant was built in Scotland in 1895 and traded timber between the United Kingdom and Russia. Warrnambool’s P J McGennan & Co. then bought the vessel to trade pine timber from New Zealand to Victorian ports and cargo to Melbourne. It was the largest ship registered with Warrnambool as her home port, playing a key role in the early 1900s in the Port of Warrnambool. In 1911, on her way to Melbourne, it was wrecked near Cape Otway. None of the nine crew lost their lives.) The promised funds for converting Rowitta into the Speculant were no longer available, so it was restored back to its original configuration. The vessel represented the importance of coastal traders to transport, trade and communication in Australia times before rail and motor vehicles. Sadly, in 2015 the time had come to demolish the Rowitta due to her excessive deterioration and the high cost of ongoing repairs. The vessel had given over 100 years of service and pleasure to those who knew her. The licence is significant for its association with the Tasmanian early to mid-1900s passenger ferry, the S.S. Rowitta. It is connected to the history of the Rowitta, which was a large exhibit on display at Flagstaff Hill Maritime Village from the museum’s early beginnings until the vessel’s end of life 40 years later. The display was used as an aid to maritime education. The Rowitta represents the importance of coastal traders to transport, trade and communication along the coast of Victoria, between states, and in Australia before rail and motor vehicles. The vessel was an example of a ferry built in the early 20th century that served many different roles over its lifetime of over 100 years. Launch Master's License No 8 issued to Fredrick Heather to act as Master of a steam, oil or electric launch trading within the Port of Launceston. Date issued 13th February 1920. The license is printed with hand written details added.Handwritten on License "Master's" "Frederick Heather" "Master" "13th February 1920" Also two signatures (indecipherable) of Master Warden and Secretary.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, launch master's licence, rowitta, frederick heather, port of launceston, launch master's license, marine board of launceston, tarkarri, speculant, purdon & featherstone of hobart, passenger ferry 1909, vessel, charles street wharf launceston, sorrento

Material collected and donated Material relating to Camp 3 and the Internees from Palestine. Sketch map of Camp 3 Memorium to Dieter Ruff, former Head of the Temple Society. Photo of steam passenger train at Rushworth Station. Various group photos. Copy of sketch of hut by Winkler. "in the Internment Camp Tatura" by K.M. Pfander Copy of talk given to her former pupils by Gudrun Gollong, in 1978. Poem written in Camp by Annie Lorenz. Poem by unknown writer "Life's Daily Routine" Interview with Babette Kirsch. Copy of children's learning book in German. Photos of toys and craft made for Kaltenbach family. Copy of Kaltenbach barracks by Cesare Vagarini. Story of Wilhelm Kuebler. Photos of wooden boxes made for Sgt. Cubbin. Copy of letter in German confirming the death in Camp of the two Stuerzenhofecker children. Copy of records Theo Stoll. School records Waltraud Doster Copy of Marriage Certificate Vollmer/Zollinger, August 1946. Recollections of Private Ashworth, guard at Camp 3. Photo taken 2001 by John Wepner of pump which supplied water to Camps 3 & 4 from No. 9 channel. Sketch of canoe made in camp from a sheep drinking trough by the Haering family. "From the Holy Land to the Home of the Kangaroo", by Hedwig Schnerring, translated by Peter Hornung, donor- Guenther Schnerring. "The Long Arm of the Third Reich" by Christine Winter. Photocopied extract of Walter Odorich Stenner's diary account of the transportation from Haifa to Australia. Research - Tatura WW2 Internment Camp 3, Annie Leschen Copy of map showing pump sites for water for Camps 3 and 4 Copy (laser) of a painting donated by Frieder Vollmer, artist "D 1943"? Adalbert Stern, Sir Nicholas - Son of Dunera boy "Adalbert Stern Copies of photos (4) of 2 cakes of Lux soap with pictures of "Roll Call, Tatura 1941" on one side and "Lux Toilet Soap" on the other Newspaper Article from "The Age" 14/04/1999 re Vagarini Exhibition Camp 3TaturaBlack 3 ring folder with printed matter and photos in plastic sleeves.documents, reports

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt

William was a coach-builder, wheelwright and blacksmith. He moved from Prahran (13 Regent Street) to Surrey Hills to property owned by the family. The house at 34 Union Road was built in 1905 for William and his wife Emily. Their son Ernest worked with him as a coach painter and also worked as a painter undertaking intricate hand painting on early cars. Their other son Martin played for the Surrey Hills Football Club. In return for the support given to the club by Mrs Emily Kleinert, it built a rotunda in South Surrey Park as a memorial to her. Alan Holt research: Lot 6 was sold to Martin Kleinert by Karl Richter in 1860 together with a portion of another adjacent lot. From 1860-1885 Martin worked it as a market garden leasing some land for grazing when it was not required for gardening. He died in 1898. In a formal document, William declared he was the son of Martin "who purchased land in 1860, died in 1898 and the land has been continually occupied by father and family since. It has been cultivated as a market garden; when not being used for gardening it was let for cultivation and grazing." William died in 1939 and the property passed to his sons Martin and Ernest. The Kleinert land extended from Union Road to Essex Road. They ran horses, ducks and fowls and Emily Kleinert grew flowers. The Kleinert property later became the South Surrey Park. The family sold the land to the Camberwell Council in the 1950s. Ernest and Ida Kleinert lived on the corner of Scotsdale and Warrigal Roads. The donor of the photo Nada Harris, nee Kleinert, was Ernest and Ida's daughter. Ida lived to a good age (> 93 years) and in later life lived in Burwood. Many of the family are buried in Box Hill Cemetery. Friedrich Johann Wilhelm (William) Kleinert (1870-1949) married (1872-1937) in 1893. Their children were: Ernest Henry John (1892-1971) married Ida Grace Vassie. Ivy Louise (1898-1952) Martin William (1903-1964) Henriette Rose (Hetta Rose) 1896-1958.Black and white photo of William and Emily Kleinert and family. The children are L to R: Martin, Rose, Ernest and Ivy.surrey hills football club, blacksmiths, wheelwrights, coachbuilders, south surrey park, rotunda, friedrich johann wilhelm kleinert, william kleinert, emily florence radford, emily florence kleinert, ernest henry john kleinert, ida grace vassie, ida grace kleinert, ivy louise kleinert, martin william kleinert, henriette rose kleinert, hetta rose kleinert, rose kleinert, nada harris, nada kleinert

Graeme DRENDEL (02 July 1953- ) Born Ouyen, Victoria Graeme Drendel is a key Australian figurative painter and printmaker who is known for his 'enigmatic works depicting figures of solitude and introspection.' (Gavin Fry) His works are often set in isolated landscapes and situations, and his powerful images most often relate to the human condition. Becoming the first member of his family to undertake tertiary studies Graeme Drendel received a studentship to study Secondary Art and Craft Teaching. Country students could undertake their first two years study at Ballarat or Bendigo Art Schools. Graham studied at the Ballarat Teacher' College and Ballarat School of Mines in 1971 and 1972 before completing the course at Melbourne State College in 1974 While studying in Ballarat Graeme lived in the student departmental hostel 'Beaufort House, and had many formational experiences during his first foray outside of the Mallee. At Ballarat Graeme Drendel became aware of the painter Gareth Sansom who lectured at Ballarat Teachers' College. Although not directly taught by Sansom Graeme was drawn to the immediacy of his work. At Melbourne Graeme chose Printmaking as his major working with Printmaking lecturers Stephen Spurrier and Jim Taylor, and drawing with John Neeson. After teaching for several years, Graeme undertook a life changing and extensive travelling tour throughout Italy, United Kingdom and United States at which time he decided he would always depict the human figure. Recognised for his intelligent observations of the human condition, Graeme’s art invites contemplation and reveals the humour of everyday life. As a prolific user of sketchbooks Graeme Drendel records close observations, which can inform his paintings. Graeme Drendel is a regular finalist in the Archibald Portrait Prize, Sulman Prize, Paul Guest Prize, and in 2022 he won the prestigious Doug Moran National Portrait Prize with his portrait of fellow artist Lewis Miller. In 2021 he received a Federation University Distinguished Alumni Award. An academic portrait of Federation University Australia Vice Chancellor Helen Bartlett.academic portrait, helen bartlett, graeme drendel, portrait, vice chancellor, academic regalia

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia..1) black and white photograph of six men dressed in formal attire - one standing beside a double bass, one holding a violin, one holding a trumpet, one seated in front of a piano, one holding a clarinet, and one standing behind a xylophone. They are situated in the Ballarat Town Hall's A Hall. Frank Wright (cornet), Roy Ogilvey (piano), E.L. Bentley (violin), C. Mills (clarionet), William Morris (Bass), T. McManamny (drums). .2) sepia photograph of six men dressed in formal attire - one standing beside a double bass, one holding a violin, one holding a trumpet, one seated in front of a piano, one holding a clarinet, and one standing behind a xylophone. They are situated in the Ballarat Town Hall's A Hall. .3) sepia photograph of seven men dressed in formal attire - one holding a flute, two holding cornets, one holding a violin, one seated in front of a piano, one holding a clarinet and one holding drum sticks. They are situated in front of a backdrop of a large painting and curtains at the Coliseum, Ballarat. .4) black and white photograph of six men dressed in formal attire - one is steated holding a clarinet, with two banjos and other clarinets on the floor in front, another is seated holding a violin. Both have saxophones on their knees. Another man is standing holding a trombone, one is seated in front of a piano, one is holding a cornet, and one is standing behind a xylophone with drum kit beside. They are situated in the Ballarat Town Hall's A Hall. .1) on back - Richards & Co, Photo, Ballarat, Post Card, Kodak Australia; handwritten - "Frank Wright and his Coliseum Orchestra", Left to Right - W. Morris Bass, E. Bentley Violin, Frank Wright Trumpet - MD, Roy Ogilvie Piano, C. Mills Clarinet, T. McMannamy Drums, Taken City Hall Nov 25th 1926 .2) on front - City Hall-Ballarat,1926 .3) on front - Coliseum-Ballarat, October 1925, on back - Richards & Co, Photo, Ballarat .4) on back - Richards & Co., Photographers, Ballarat, Proofs not returned charged for; handwritten - Ballarat Town Hall, probably Coliseum Orchestra?frank wright, coliseum orchestra, city hall ballarat, cornet, piano, clarinet, banjo, violin, xylophone, trombone, drums, w. morris, e. bentley, roy ogilvie, c. mills, t. mcmannamy, ballarat town hall, ballarat town hall interior, "a" hall