Interior home office and sunroom of the home of Professor Macmahon Ball's house in York Street, Eltham. A mud brick house designed by architect Alistair Knox. Professor William MacMahon Ball (1901-1986) was a professor of political science, diplomat, author, jounalist and radio broadcaster. Reproduced on p108 of 'Pioneers & Painters'This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image Print 19 x 25 cmsepp, shire of eltham pioneers photograph collection, eltham, alistair knox, professor mcmahon ball, mud brick house, home office, sunroom, macmahon ball, pioneers and painters, professor macmahon ball

The Government first granted land for the building of a Presbyterian Church in Sunbury in Stawell Street and Barkly Street, in 1864 and a smaller building was later erected on the site. In 1904 Rev Goyen pressed for a brick church rep[lace the smaller weather board building and the foundation stone was laid for the new church was laid by Mrs. John Duncan on 17th August 1904 and the new church opened by Lady Clarke on 13th November 1904.The Presbyterian Church was one of the earliest churches to be established in Sunbury along with a school.A non-digital sepia photograph in post card format of the front view of a brick church with a light picket fence across the front.

The wooden pattern was possibly made for casting a part for Craftman Marine, makers of engines for boats and other machines. It is part of a set that is stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; rectangular wooden block with a corner cut diagonally. A five-sided shape has been carved into the centre, with one side curved inwards and slightly shallower than the other sides. The cut-out area is painted black. Three holes are drilled in the cut-out side to align the pattern with another piece of work. A wooden slat is fixed across the diagonal side. The back of the pattern has a handwritten inscription, possibly by two writers. The pattern is part of a set of foundry patterns from Briggs Brass Foundry and is connected to Craftman Marine.In black handwriting: "1 # H AL" Handwritten in a different hand: "CRAFTMAN MARINE" Written the the first hand: BRIGGS" (or "BRICK")flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912, craftman marine, craftsman marine

Black and white photograph of three black and white views Daisy Campbell's ti tree and mud hut showing - 1. Hut of Ti-Tree and Mud - hut originally had a bull rush thatched roof, which was later covered with corrugated iron.. 2. Further view. 3. Interior view showing wall construction and remaining thatched roof.campbell, daisy, campbells croft

Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer unknown. From Glen Eira’s Heritage Management Plan by Andrew Ward (1996) Vol 2 p78: In Murrumbeena Road, the shops which form part of the estate are a simple cream brick row relieved by manganese bricks in bands across the upper storeys. City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of a section of a double storey, unpainted brick, commercial property containing shops at ground level all with awnings over the footpath. This specific property is a milk bar on street level with plate glass windows and door, colourful advertising and "229' in the top right section of the window. Shop signage says "MURREMBEENA MILK BAR". The upper storey brick residence features a large window, a flat roof and decorative two tone banded brickwork. MURREMBEENA (sic) MILK BAR / PK's / SANDWICH / BAR / MILK BAR & Sandwich Bar / 229 / SUB NEWSmurrumbeena, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, beauville estate, murrumbeena road, milk bars, commercial establishments, flats, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, beauville historic area, shops, brick features, window displays, advertising signs, murrembeena (sic) milk bar

Considered the best of the early mud-brick houses built by Alistair Knox. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p143 The Busst house hidden by trees at the corner of Silver Street and Kerrie Crescent is considered the best of the early mud-brick houses built by Eltham architect, Alistair Knox. Knox himself said, that the Busst house was the most mature mud-brick house designed at that period. ‘It related with true understanding to its steep site and expressed the flexibility of earth building ………to develop a new sense of flowing form and shape’. Built in 1948 for artist Phyl Busst, a former art student at Montsalvat, the house helped usher in Eltham Shire’s distinctive mud-brick residential character. Knox was the pivotal figure of the style developed from the 1950s to the 1970s. Scarcity of building materials after World War Two encouraged mud-brick building because earth was a cheap and plentiful building medium. But when Knox began building in mud-brick in 1947, no council in Victoria knew anything of this ancient art and he needed a permit. Fortunately the Commonwealth Experimental Building Station at Ryde in NSW, had been experimenting with earth construction to help overcome the shortages of that time. They published a pamphlet that became available in Melbourne on the same day the Eltham Council was to consider whether the earth building should be allowed. Knox caught one of the three morning trains to the city in those days and bought several copies of the pamphlet to give to each councillor. On his return he found the councillors standing on the steps of the shire offices after lunch at the local hotel. He heard that earth building had been discussed before lunch and that they were not in favor of it. Knox gave each councillor a pamphlet. They passed that plan and by doing so, opened the door for all future earth building in Victoria and by default, in Australia. Mud-brick houses attracted artists to Eltham, for their aesthetic appeal and because they were cheap. Those who built their own houses, included film maker Tim Burstall, artists Peter Glass, Clifton Pugh, Matcham Skipper, Sonia Skipper and husband Jo Hannan. For Knox, mud-brick building was more than just a cheap building medium. He saw it as harmonising with the surrounding bush and as a way of counteracting the growing materialism of the age. He wrote of its impact on ‘ 20th century man. It should counteract the confusion that the perpetual flow of high technology products have upon him ..’ Building the Busst house on a steep site was difficult because most earth-moving equipment was then in its infancy. For instance drilling for explosives was done by hand, which was a slow and painful process. Knox, assisted by his foreman Horrie Judd and Gordon Ford (who was to become a famous landscape designer), built two large main rooms - a living room/ kitchen downstairs - and upstairs, a studio/bedroom. The studio/bedroom opens onto the balcony, which covers the living area. The bath made of solid concrete by stonemason Jack Fabro, is particularly deep. Sunshine pours through the three French windows of the north-east facing kitchen/living area, which is lined with timber. The large hearth can fit a family around the fire while the timber floors and solomite (compressed straw) ceilings add to the cosy atmosphere. The garden is thick with trees, and in the late 1990s, Ford put in a pool near the original dry wall he had built as a young man.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, alistair knox, alistair knox design, busst house, kerrie crescent, mudbrick construction, mudbrick houses, silver street

House provided by the community for Miss Hammarstrom and family after Mr Hammerstrom, a fisherman, was lost at sea in 1926. The Age newspaper collected 400 pounds in an appeal to support the family. House was originally timber clad. Also one other colour photograph similar, side of building, fibro cladding and two brick chimneys.Colour photograph of a small fibro cement cottage. Corrugated iron gable roof, two substantial brick chimneys, at 43 Roadknight Street, Lakes Entrance Victoria houses, accommodation, heritage study

39 Main Street: Mr Tom Healy did boot & shoe repairs from shop at front of house.Colour Photgraph. Brick home with brick fence. Small brick building opening onto footpathOn reverse: Shop where Tom Healy worked in Lower Main Streetbusiness, tom healy

Lesley Hogan (1892 - 1958) was adopted by Francesca (nee Both) and Louis Schwerkolt. He married one of their daughters, Frances Dora Schwerkolt. (1893 - 1962)Sepia photograph of Leslie William Robert Hogan looking as if he had been playing in the mud. He is wearing braces over a white shirt.hogan leslie, schwerkolt francesca nee both

The two storey building in the photograph is the Royal Hotel. The original single storey hotel was damaged by fire in the 1930s so the double storey red brick building replaced it on the same site, which is at the intersection of Evans and Brook Streets. For many years the MIllett family owned and ran the hotelThe Royal Hotel is one of four hotels that operated in Evans Street between Station and Brook Streets. Only two of those hotels are operating on their original sites. The other two have been demolished and replaced with retail businesses.An enlarged black and white non-digital photograph with a narrow cream border of a streetscape of an intersection with a two storey brick building on one corner and cars park by the kerb outside the building.royal hotel, millett family, evans street, brook street, hotels

Report of a panel pursuant to Section 153 of the Planning and Environment Act regarding the property at 629 Canterbury Road, Surrey Hills - an Edwardian two story red-brick butchers' shop built in 1897 for the Tacey family.Report of a panel pursuant to Section 153 of the Planning and Environment Act regarding the property at 629 Canterbury Road, Surrey Hills - an Edwardian two story red-brick butchers' shop built in 1897 for the Tacey family.abermore pty ltd, heritage studies, tacey family butchers, surrey hills, canterbury road, (ms) natica schmeder, sherry james, jo james, (mr) mark marsden, (mr) bryce raworth, 2011, 1897

According to Lloyds Shipping Register 1837-1839, the CHILDREN was built in 1825 at Liverpool and operated by owners Gordon & Co, of London. London registered number 123/1837. James Henty then bought her in 1837 as a three-masted barque of 254 tons, with a hull of “part pitch pine, felt sheathed” and “coppered 1837”. Launceston registered number 6/1837. In 1838 the CHILDREN, under her master Captain H. Browne, completed a successful round trip from Launceston to London (carrying wool and whale oil loaded in Portland), returning in late November of that year (carrying a general cargo including the house bricks). On the 11th January 1839, the CHILDREN sailed from Launceston for Adelaide, with 24 passengers, 14 crew, and an awkward mixed cargo, including 1500 sheep, 8 bullocks, 7 horses, and farming implements, and six whaleboats with associated whaling gear. One account states that when the CHILDREN “put out from port she was light and badly ballasted”. The vessel immediately encountered four days of hurricane force storms, eventually clearing on the early morning of the 14th to “west force 10”, but too late to take accurate measurements of the sun or stars to establish their position relative to the coast. The CHILDREN collided with a limestone stack at the entrance of Childers Cove, and the seas smashed her into pieces within half an hour. All the cargo and 16 lives were lost (including 8 children). The Hentys contributed £150 towards a fund for the 22 survivors at a memorial service held in Launceston later that year. It was a major financial setback for the Henty’s, but one from which they recovered. In a submission to the Governor of New South Wales dated 24 March 1840, the Henty’s summarised their work over the previous six years of settlement: “Six stations have been occupied, one at Portland Bay…three at the open country about 60 miles inland called ‘Merino Downs’…They have erected two houses at Portland Bay and two others at Merino Downs”. The shipwreck of the CHILDREN is of State significance ― Victorian Heritage Register S116Fired brick from the wreck of the Children, flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, children

The series of five photographs feature various stages of the demolition of a double fronted brick Victorian cottage which was on the east side of Evans Street opposite the railway line and local football ground. A KFC complex now occupies the site.A coloured photograph in landscape format showing a double fronted Victorian brick cottage undergoing demolition. The slates on the roof have been removed. The front and side walls are intact. Some rubble is on the ground in front of the verandah.victorian cottages, house demolitions, evans street, george evans collection

The site of the former Kew Congregational Church was the earliest 'built' place of religion in Kew. An earlier building by Charles Vickers was replaced by a new brick church designed by Albert Purchas. Following the creation of the Uniting Church, the church at 30 Walpole Street was declared redundant and demolished to make way for the Bodalla Nursing Home (itself later demolished).Colour print positive of the former Congregational Church in Walpole Street, Kew. A side on view of the red brick and concrete renders building showing the small steeple and the front entrance."Oldest church in Kew. Taken Oct 1977. Formerly Congregational church"churches -- kew (vic), congregational churches, walpole street -- kew (vic), albert purchas

Situated at the eastern end of York Street, Eltham, 'Shinrone', the former home of Professor William (Mac) MacMahon Ball was one of the first in the Shire of Eltham to incorporate mud-brick. Professor MacMahon Ball, a political scientist, writer, broadcaster and diplomat and family moved to York Street, Eltham in 1945 into a timber cottage built around the 1890s and in poor repair. Mac asked Alistair Knox to renovate the home and he expanded the living area and added verandahs. In 1948 Montsalvat artist and sculptor Sonia Skipper supervised the building of most of the mud-brick studio. Neighbour Gordon Ford made the mud-bricks. Mac also asked John Harcourt, who had worked with him as a journalist in shortwave broadcasting, to build a pise (rammed earth) and stone addition to the largely timber house. Harcourt built two bedrooms - including an attic bedroom - a balcony with a shower and toilet, a nd a fireplace and chimney of local stone. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p141 At the eastern tip of York Street, Eltham, stands Shinrone, the former home of one of Australia’s intellectual leaders. Professor William Macmahon Ball, was one of the first to bring Asia as a foreign policy issue to the Australian public.1 He was a political scientist, writer, broadcaster and diplomat. The house was one of the first in Eltham Shire to incorporate mud-brick,2 because of the acute shortage of building materials after World War Two. Its novice builders later become leaders in Eltham’s built and garden design. Mac (as he was usually called), who was the son of a Church of England minister, was born in Casterton, Victoria in 1901 and died in 1986. In 1945 he helped establish the United Nations, as political consultant to the Australian Delegation at the San Francisco Conference.3 Then in 1946 Mac was appointed British Commonwealth Representative on the Allied Council for Japan, which is recorded in detail in his diary.4 In 1948 Mac led an Australian Government Goodwill Mission to South East Asia. However, Mac was perhaps most successful as an academic and public speaker.5 He was a commentator on the Australian Broadcasting Commission, from the early 1930s to the early 1960s. He was also Controller of the Short-Wave Broadcasting Unit during World War Two, which later became Radio Australia. From 1923 he taught at The University of Melbourne, then became foundation Professor of Political Science in 1949 and was Chair until his retirement in 1968.6 In 1942, as the government expected a Japanese invasion, Mac’s wife Katrine and their only child Jenny, moved from Kew to Eltham as temporary evacuees. However Mac and Katrine lived in Eltham for almost the rest of their lives. After staying with friends, they rented a house in Reynolds Road, where, as it was wartime, they needed to keep horses for transport and a cow and poultry for milk and eggs. In 1945 the family moved to the house at York Street, which was then a timber cottage, built around the 1890s and in poor repair. The underground well, cellar and part of the garden are all that remain of what stood on the original 18 acre (7.3ha) allotment. Thanks largely to Katrine’s hard work, the house was gradually renovated and extended. The long rambling house was partially built by several young neighbours, who were inspired by the cheap mud-brick and stone building style of Montsalvat, the Eltham artists’ colony. Mac asked Alistair Knox to renovate Shinrone, named after an Irish village near Katrine’s family home. Knox later popularised the mud-brick style of house construction, for which Eltham became known. He expanded the living area and added verandas. In 1948 Montsalvat artist and sculptor Sonia Skipper supervised the building of most of the mud-brick studio. Another neighbour, Gordon Ford, who was to have a major influence on the Australian garden style, made the mud-bricks. Mac also asked John Harcourt, who had worked with him as a journalist in short-wave broadcasting, to build a pisé (rammed earth) and stone addition to the largely timber house. Harcourt built two bedrooms – including an attic bedroom – a balcony with a shower and toilet, and a fireplace and chimney of local sandstone. With pioneering work naturally came mistakes, including one particularly dramatic incident when Harcourt was building walls with unsupported sections. Jenny Ellis, Mac’s daughter, remembers being awakened from sleep by a thundering shudder. The wall of her room had fallen down – fortunately away from her! In 1950 artist Peter Glass – another neighbour and later landscape designer – built Katrine a mud-brick pottery. As a result, the house features at one end Harcourt’s characteristic steep gable roof, while at the other the flatter construction characteristic of Knox. Mac referred to the home as the Eltham ‘experimental building site’.7 Surprisingly, the combination works, perhaps partly because it has the warm inviting feel of timber, mud-brick and stone.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, alistair knox, gordon ford, john harcourt, mudbrick construction, pise construction, professor macmahon ball, shinrone, sonia skipper, york street

Situated in King Street, Eltham, Alistair Knox built his home and office in 1962-1963 with mud-bricks made from the local soil and recycled materials blending the house with bush around it. Knox popularised the Eltham earth building movement, begun by Montsalvat founder, Justus Jorgensen. Alistair Knox (1912-1986) was also an Eltham Shire Councillor 1971-1975 and Shire President in 1975. Knox established the inaugural Eltham Community Festival in 1975. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p145 Lack of money was a strong incentive for Alistair Knox to do what he did best when he built his house and office at King Street, Eltham in 1962-63. He used mud-bricks from local soil and recycled materials, characteristically blending the house with the bush around it. The result was a work of art. Knox popularised the Eltham earth building movement,1 begun by Montsalvat founder Justus Jörgensen. He was also an Eltham Shire Councillor from 1971 to 1975 and Shire President in 1975. For Knox mud-brick building was not just a building style, but a spiritual experience and a way of relating with nature. At 40 he rediscovered God and his building reflected his theological, political, philosophical and particularly environmental world view, which was far ahead of its time.2 He also contributed to building development in his use of concrete slab foundations when stumps and bearers were the norm. Knox was introduced to mud-brick construction in 1940 by Jörgensen, then shortly after, Knox joined the Navy. In 1946 Knox studied Building Practice and Theory at Melbourne Technical College (now RMIT University). There he befriended fellow student and artist Matcham Skipper who belonged to what was then called the Jörgensen Artists’ Colony. Knox decided to build an earth building in Eltham, partly because the post-war huge building demands resulted in expensive and scarce building materials. He asked artist Sonia Skipper for help who, with Matcham, had constructed mud-brick buildings at the Artists’ Colony. The simple rectangular low-lying house at King Street is framed by native plants and a 3.6 metres wide pergola surrounds the building. Wedded to the landscape, a door in every room at the perimeter, opens outside. The property also includes a forge, a small hut built by son Macgregor at 15, and a mud-brick tower for chickens. Building materials were foraged from a wide variety of sources. Some of the joinery material came from old whisky vats. When the Oregon of the highest quality ‘was put through the wood-working machines, it gave off a deep smell of whisky that made the whole atmosphere exotic and heady’.3 Amateur builders, including schoolboys from Knox’s Presbyterian Church, made some of the mud-bricks. But the building was finished with the professional help of Yorkshire builder, Eric Hirst. Inside, the light is subdued with the mud-brick, beamed timber ceilings and floors of slate, timber or orange-brown tiles. Skylights, with rich blue and red leadlighting, illuminate one entrance area and this feature is repeated as edging on the door. The centre of the house is like a covered courtyard, with rooms built around it. The central room, 11 metres x 7 metres, was built in the same proportions as Knox’s mud-bricks. Clerestory windows on four sides infuse the room with a soft light. A huge brick fireplace extends beyond one corner and opposite is a small one where timber can only be placed vertically. The slate for the floor was discarded from the Malthouse Brewery now used as a theatre in Southbank. In the middle is a large refectory table and benches that seat 18. Like much of the house, it is rugged, yet beautiful. Made of Western Australian Jarrah by Macgregor with a chain saw and an adze, it retains knot and nail holes. Each wall has an opening, 2.4 metres at the ends and 3.6 metres at the sides. Only one has doors and these concertina doors are made of the backs of old church pews. The main bedroom has an ensuite with a marble hand basin discarded from the Victorian Parliament building; and a dressing room, where two wardrobes of polished timber recovered from a tip are attached to the walls. Separate from the house is the strikingly original circular-shaped office made of bluestone sourced from the original Army campsite at Broadmeadows.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, alistair and margot knox house, alistair knox design, mudbrick construction, eltham, king street

Alan Richardson was born in 1853 and died in 1936. He was a sawmiller at Tabbara who built and held the ticket for the Paddle Steamer Curlip. PS Curlip was registered in 1893 and the Passenger Certificate issued on 30th January 1903 to Captain Alan Richardson by the Marine Board of Victoria entitled her to carry 25 passengers and only 10 passengers when engaged in towage service. Two children under 12 years of age to be reckoned as one passenger. He had the first horseless motor buggy in Orbost. Alan Richardson was married to Emily Dawson and had two children - Alan Jnr and Ruth.Before the First World War, few people in Australia owned or knew how to drive cars before they bought them. This International auto buggy was promoted as a useful vehicle for station owners, farmers, doctors, and town and country salesmen. It was said to be the cheapest automobile in Australia (at one third the cost of a conventional car), required much less maintenance, had durable solid rubber tyres rather than troublesome pneumatic ones, and didn’t need a chauffeur. This is a pictorial record of a "horseless buggy" which would have been a novelty in the early 20th century in Orbost. The item is associated with the Richardson family, early Orbost settlers.A small black / white photograph of a motor vehicle with a man seated at the steering wheel. The vehicle has large buggy wheels with mud guards. It is open with no windows.transport motor-vehicle horseless-buggy richardson-alan

Centurion tanks in the mud at CORAL Four Centurion tank crew in front of a tank enjoying a break US Army Site with rain puddles in foreground at Coral.photograph, centurion tank, us military, battle of coral-balmoral

Colour photograph of an upturned tractor at the Narre Warren orchard. It lies in the mud. Two other tractors are resting behind it. A fence surrounds the paddock with trees in the background.

Statement of Significance Last updated on - January 5, 2010 REVISED STATEMENT OF SIGNIFICANCE, CONTEXT, 2010 What is significant? The c1950s Jelbart residence and the c1945 barn, the garden and the gate posts and the surrounding site to the extent of the title boundaries. How is it significant? The Jelbart house and barn are historically and architecturally significant to the Shire of Nillumbik. The garden and the gate posts are historically and aesthetically significant to the Shire of Nillumbik. Why is it significant? The Jelbart house and barn are historically significant because they are unusually large and because together they comprise one of the oldest groups of substantial mud brick buildings erected during the 20th century in the Shire of Eltham and foreshadow the large mud brick residences of the 1960s and 1970s for which the area is well known (Criteria A & B). The buildings are architecturally significant because their construction (using timber post framing and mud brick walling) is a characteristic feature of what became known as the 'Eltham style'- which was prevalent in the area during the mid and latter parts of the 20th century (Criteria D & A). The garden and the gate posts - The garden is historically significant because it is a remainder of a large holding of 200 acres associated with the house (Criterion A).The gate posts are historically and aesthetically significant because they were taken from a 19th-century Toorak mansion and because their removal and re-use illustrates the practice of recycling material from demolished buildings that was one of the characteristic features of 'Eltham-style' architecture (Criteria A, D & E).Roll of 35mm colour negative film, 8 strips and associated 10 x 15 cm colour printKodak Gold 100-5arthur street, eltham, jelbart barn

This photograph is a copy obtained from State Library of Victoria. The photograph is of Stawell Shire Hall. Two persons can be seen in the foreground. The two story brick building beside the Stawell Shire Hall was once the Literary Institute. The Stawell Shire Hall building has been added to over the years. Ronald Campbell, the Shires second president laid the foundation stone on 28th April. 1866. The contractors were Hutchings and Delbridge. The photograph shows the first hall and office. The building contained simple 18 feet square rooms, with an entrance hall separating them, the facade was almost as it is now. The initial cost of the Shire Hall was $502.Black and white photograph of Stawell Shire Hall as one single storey brick building with parapet on top. Beside the Shire Hall is a two storey brick building. Also, a dwelling between the two building in the background in Cooper St. Two persons in the foreground, one on the road the other on the pathway. stawell

Private Home - 10 Seaby Street (Hobbs) 1997. Built by Mary Ellen Hobbs widow of William Hobbs Paid for by proceeds of Mine Investments Later purchased by Frank & Lorraine Stokes.Brick House with brick front fence in Seaby Street Stawell.stawell

The Kew Historical Society's map collection includes a substantial number of real estate subdivision plans, mainly of Kew but also of surrounding suburbs in Melbourne. Most of the subdivision plans date from the 1920s and 1930s when the districts old homes and local farmland were being split up to accommodate residential growth in the postwar period. These early plans were assembled by a local firm, Jas R Mather & McMillan, which had an office in Cotham Road. Many of the plans, and sometimes photos, were annotated by the agents.Subdivision plans are historically important documents used as evidence for the growth of suburbs in Australia. They frequently provide information about when the land was sold as well as evidence relating to surveyors and real estate and financial agents. The numerous subdivision plans in the Kew Historical Society's collection represent working documents, ranging from the initial sketches made in planning a subdivision to printed plans on which auctioneers or agents listed the prices for which individual lots were sold. In a number of cases, the reverse of a subdivision plan in the collection includes a photograph of a house that was also for sale by the agent. These photographs provide significant heritage information relating house design and decoration, fencing and household gardens.The photograph may also be aesthetically significant depending o the importance of the photographic atelier.Real estate photographs of a classic double-fronted late Victorian brick villa. It central location in Cotham Road, Kew enabled the selling agent to note its proximity to the tram. With seven rooms, all ‘modern conveniences’, and land of 66×167, the house was to be sold for £1100. The villa has a number of interesting features including a pattern within the slate roof as well as the use of polychrome brickwork under the eaves and on the façade. The intricacy of the cast iron lace is emphasised by the line of projecting wooden blocks above it. The picket gate is painted a different colour to the pickets of the fence. The house has a name (illegible) that is attached to the inset cast iron lace of the central projecting gable in the veranda. Stamped on mount: "Kew. Central. Close tram. / Comfortable Brick Villa. / Containing 7 rooms / Modern conveniences: / Land 66 x 167. Sold 1100 pounds:"houses - kew, victorian villas, real estate photographs, cotham road - kew

The Eltham Community and Reception Centre was Australia's first public mud-brick building. Commissioned in 1977 by Eltham Shire Council, led by Shire president (and architect) Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. The official opening was performed by the Hon. R.J. Hamer; E.D., M.P., Premier of Victorai on Saturday, April 22, 1978. Architects: Whitford & Peck Pty Ltd Quantity Surveyor: D.J. Cant & Associates Structural Civil Engineers: Charlett & Moore Pty Ltd Landscape: Peter Glass, Dennis Edwards Mech Elec: Lobley Treidel & Partners Pty Ltd Acoustics: Riley Barden & Kirkhope Builder: L.U. Simon Pty Ltd Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p177 The Wiggles performed there, so has the ABC’s Play School. New citizens have made their vows, volunteers have been honoured, school children have performed, weddings celebrated and people mourned at funerals. Since 1978 the Eltham Community and Reception Centre at the corner of Pitt Street and Main Road, has provided a beautiful and quintessential Eltham environment for people from all over Melbourne. Recognised as Australia’s first public mud-brick building, the centre was built partly on the site of the parsonage of the former Methodist Church (now the Uniting Church).1 Commissioned by the Eltham Council headed by President Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. Following public consultation, it was agreed to build a centre for dances, exhibitions, films, plays or concerts. The results – at a cost of around $620,000 – captured the Eltham rustic style. The building – in soft tones of mud-brick and timber and immense floor-to-ceiling windows – overlooks the Diamond Creek and sporting fields. Eltham’s strong artistic heritage is reflected in the centre. Although the lighting is not ideal for a gallery and labels cannot be placed on walls, the centre hosts the Nillumbik Art Awards and displays around ten to 20% of the Nillumbik Shire Art Collection, usually for around a year at a time.2 On permanent display, close to the entrance, is local artist Clifton Pugh’s White Choughs in the Landscape. Further to the right is the Walter Withers Gallery, named after a local member of the Heidelberg School of artists. As part of the Eltham Gateway opposite the Eltham Hotel, the centre stands on what was once part of the Eltham Town Centre along this section of Main Road, then known as Maria Street. On the same site once stood the house and flour mill owned by Henry Dendy, best known as the founder of Brighton, although he lived longer in Eltham. Beside the drive is a wheel-rim tool with accompanying plaque, illustrating a technology important during the horse-powered age and now almost completely gone, as has the blacksmith’s shop that had housed it nearby. The implement is a platform for fitting iron tyres to the wooden rims of cartwheels. Beneath it is a capsule placed in 1985 to commemorate Victoria’s 150 years, which is to be opened in 2035. Although the plants, forming part of the landscaping by Peter Glass and Denis Edwards, are largely indigenous and other native species, some exotic plants are protected as an important link with the site’s past. Planted at the front around 1920, is a large Peppercorn tree with two joined trunks growing from the base, and close by is a Bhutan Cypress (Cupressus torulosa). Three other Peppercorn trees fringe the drive. The building includes two halls – the larger seating 250 people – and a large foyer overlooking trees and ovals. Both halls have retractable rear walls providing varying spaces as required, and guests can use several external decks. A site for outdoor theatre has been carved out of the natural slope outside the entrance. The Bricklayers Union refused to use the traditional mud-bricks, which weigh more than 22kg. As a result the mud-bricks were redesigned to reduce their weight and were laid back-to-back to produce a wall of normal thickness.3 The centre’s massive timber frame is reminiscent of timber bridge construction, with infill panels of mud-brick.4 In accord with the rustic style are colossal rough-sawn posts, bolts and steel brackets. The combination of mud-brick, exposed feature timber framing and creative design in this centre, characterises Eltham’s innovative buildings and the social movement behind them from the 1940s to the 1970s.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 community and reception centre, mudbrick construction

"The Somme" named by WW1 Diggers was just around the corner from Big Hill. It was named because of the resemblance to "the Somme's muddy battle fields in France. The Great Ocean Road was constructed by WWI returned soldiers. Their use of language reflects this history"The Somme" named by WW1 Diggers. Just around the corner from Big Hill, named thus because of the resemblance to "The Somme" in France (because of the amount of mud on the site)great ocean road.; "the somme"; big hill

Albert Newberry Collection photo number 1212Black and white photograph of North Arm bridge taken in 1940s showing little bridge crossing to the mud island and old Club Hotel Lakes Entrance Victoriabridges, engineering, gippsland lakes

Since it was built in the 1860s the two storey brick building has had a number of commercial uses including butter and ice making, a general store, an equestrian store, an art gallery, a community Christian centre and a health studio. It has apparently been built in two stages because one section of the brickwork has a smoother finish.A coloured photograph of a two storey brick building with a slate roof. There is a shop front on the ground floor and 5 windows are on the 2nd storey. A verandah extends across the front of the lower storey to the edge of the footpath.butter and ice making, johnston, george, james, william, george evans collection