Hercules Gold Mining Co. N.L. to Miss G. Alice Jones. Re Rules. Cream paper dated Dec 23, 1942, to Jan 4, 1943, for instructions for rules, making copies and returning original rules. "R720 Posted 26/3/43" written in the top left corner. Cost £10.10.0.miss g. alice jones collection - account, hercules gold mining co n l, mr h l stewart

Singer was first established as I. M. Singer & Co. in 1851 by Isaac Merritt Singer with New York lawyer Edward C. Clark. Best known for its sewing machines, it was renamed Singer Manufacturing Company in 1865, then the Singer Company in 1963. The Singer company began to market its machines internationally in 1855 and won first prize at the Paris world's fair that year. They had offices established in both Sydney and Melbourne by the mid-1960s. The company demonstrated the first workable electric sewing machine in 1910. Singer was also a marketing innovator and a pioneer in promoting the use of instalment payment plans, making their machines more affordable for many people. According to its serial number, this machine was manufactured in 1950 and was one of the new models designed to be more portable as it only weighed about 10 KG.This sewing machine is of local, national and international significance as it represents developments in technology and the impact this had upon the work of women.The Singer 99 was a sturdy and reliable machine that was easy to use. Lighter than other machines of its time, this machine weighed only 10 Kgs. It is mounted on a wooden base with a small compartment under the balance wheel to store accessories and bobbins. It has a 'Bentwood' (polished plywood) cover which also provided some room for storage. The machine is driven by a small electric motor and a light to illuminate the work area. It is decorated with gold decals and a filigree pattern. It includes a knee control which is inserted in a hole at the front of the machine. The serial number EG045782 indicates it was manufactured in 1950.Across the top in gold script: "The Singer Manufacturing Co. / Made in Great Britain" On light cover: "SINGER" Plate with specifications also attached. On front of machine in oval badge: A CENTURY OF SEWING SERVICE/ THE SINGER MANFG. CO. 1851 - 1951singer sewing macnine, domestic appliances, women's work, technology

Edendale Farm is Nillumbik Shire Council's environment centre situated in Gastons Road, Eltham between the railway and the Diamond Creek. The homestead on the property was built in 1896 and is of historical significance, being the subject of a Heritage Overlay under the Nillumbik Planning Scheme. The Edendale property was originally part of an extensive land purchase in 1852 from the Crown by pioneer Eltham farmer Henry Stooke. He initially purchased 51 acres and later expanded his holdings by purchasing another three adjacent Crown allotments extending northerly from Josiah Holloway's Little Eltham subdivision. Despite clearing the land, Stooke did not build on this property, choosing to live on his property "Rosehill" at Lower Plenty. In 1896 Thomas Cool, Club Manager of the Victoria Coffee Palace in Melbourne purchased 7 acres of the original Stooke land and built the house now known as Edendale. Cool did not farm the land, instead using it as a gentleman’s residence, retiring to Eltham at weekends. In 1918 he purchased an additional 7 acres but in 1919 he sold the property. Later owners included J.W. Cox, the Gaston family and D. Mummery. In the 1980s the Eltham Shire Council purchased the site for use as a Council depot, but this use did not proceed. Subsequently, it was used as the Council pound. The Edendale Farm Pet Education and Retention Centre was established in the summer of 1988/1989 and was set up to replace the existing dog kennels with a high standard pet retention centre. The design style of the building was established to compliment the features of the existing house. It was equipped with 10 retention pens, a veterinary room and a pet education area where school children and other interested parties learnt about pet care procedures. It was later developed into a community farm and was run by an advisory committee and in 2000 it became an Environment Centre. In early 2006 an advisory committee was established for the development of a master plan for future development at Edendale Farm. The committee included Russell Yeoman, a former long-time shire planner and founding member of the Eltham District Historical Society. At the time of filming the Master Plan and future for Edendale was about continuing to develop Edendale as a centre of environment learning and looking at expanding displays and school program, running a lot more of life-long learning and workshops around sustainable living. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p101 A sharp turn from busy Wattletree Road by the railway line, brings a surprise. Only 1.4 km from Eltham’s centre, sheep feed, blissfully unaware of the hectic suburban activity so close by. At the entrance to the 5.6ha Edendale Farm is another surprise. A work of art that looks like huge tree trunks transformed into bowler and top-hatted men. The Fences Act 1968 by Tony Trembath with Mark Cain and John Doyle, 1996, is classified by the National Trust of Australia as having Regional Significance. The title refers to a government act on disputes between neighbors over the placement of fences and boundaries. This takes a ‘wry swipe’ at a community divided by trivial squabbles. It also celebrates making do with limited resources.1 Further along on the left, the office wall is decorated with a massive Eltham Copper Butterfly, designed by Robert Tickner and made by school children with used plastic bottles and other waste material. Nillumbik Council runs Edendale as an Environmental Education Centre, to help preserve and enhance the local environment. As early as 1988 the former Eltham Shire Council realised Edendale’s importance in meeting people’s needs, particularly of children, to enjoy farmland. The centre, with the Eltham North Reserve to the north - including remnant bushland and open parkland - makes up the major part of the public open space for this area. The council considers this area will become increasingly important to the local community for recreational use.2 Educational programs aim to encourage community involvement to ensure the long-term rehabilitation and protection of natural bushland areas. Edendale is used by people of all ages - from school children to adults - for environmental programs and workshops, as well as for recreation, to enjoy the domestic animals and to picnic. Edendale is also home to the Environmental Works staff who manage reserves and roadsides and support Nillumbik Friends environmental groups. The Friends propagate plants at the nursery, which grows indigenous plants and sells these to the public.3 The centre demonstrates the sustainable living the farm teaches, with features like solar hot water and drive lighting and for the fireplace, logs of recycled cardboard. Edendale has had a varied history as a dog pound and even as a retreat for Thomas Cool, Club Manager of the Victoria Coffee Palace in Melbourne. His single-storey weatherboard house built in 1896, which still stands, was grander than most homes in Eltham. Although such buildings were common in many other parts of Melbourne, Eltham’s poverty and remoteness did not encourage such construction. The Victorian rectangular-shaped house, with a corrugated iron roof and veranda, has elegant large rooms, leadlight windows, ceiling roses, two bay windows and ornately carved wooden fireplace surrounds. Cool bought seven acres (2.8ha) from pioneer Eltham farmer Henry Stooke’s 200 acre (81ha) farm, which he had bought from the Crown in 1852. In 1918 Cool bought an extra seven acres (2.8ha) but in 1919 sold the estate to farmer John Cox. In 1933 Cox sold Edendale to Mrs Elizabeth Gaston, after whom the road leading to the centre was named. The property was owned by several Gaston family members, who called it Edendale, then by a police constable, Douglas Mummery, until the Shire of Eltham bought it in 1970. Oddly Edendale was known as Mummery’s for almost 20 years, although Mummery owned it only for a short time.4 The shire used Edendale as a dog pound until amalgamation with other municipalities in 1996. The pound then moved to the Yan Yean Road, Plenty site, which had been used by the former Diamond Valley Shire Council. To the west and north the centre is bounded by Diamond Creek and on the east by the Melbourne-Hurstbridge railway line. Part of the Research creek forms the centre’s southern boundary.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, edendale farm

Music in the Open Air was an initiative of Frank Wright, the Musical Director of the Greater London Council Parks Department. Frank Wright was a renown resident of Smeaton, where he was born in 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. He was the youngest of eleven children. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He 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 appointed in 1934 as the Musical Director of the London County Council (the GLC or Greater London Council), where he organized many amazing concerts in most of the 150 parks, in and around the London district. He was also responsible for some of London’s major concerts at Kenwood, the Crystal Palace and Holland Park. He was made Professor of Brass and Military Band Scoring and Conducting and was a Fellow of the Guildhall School of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. Frank was awarded an M.B.E. in 1967 and he died in November 1970. 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.Two tone rectangular paper pamphlet of 4 double sided pages, with photo of an orchestra in a sound dome in top right hand corner. Held at Kenwood Lakeside for the Greater London Council Parks Department 11017.1 - Music in the open air: New Philharmonia Orchestra. Conducted by Norman del Mar, 11017.2 & .4 - London Symphony Orchestra. Conducted by Edo de Waart and Frank Wright 11017.3 - Royal Liverpool Philharmonic Orchestra. Conducted by Charles Groves. 11017.5 - Royal Liverpool Philharmonic Orchestra. Conducted by Charles Groves 11017.6 - Royal Philharmonic Orchestra - Conducted by Stanley Pope 11017.7 - New Philharmonic Orchestra - Conducted by Norman Del MarDesigned by GLC Supplies Department and printed by Staples Printers Limitedfrank wright, music in the open air, kenwood lakeside

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Quilt featuring block pieces in tones of grey, blue, tan and brown, graduating in light to dark tones from top to bottom. The top third features a house with a verandah.quilt, wagga, home, house, housing affordability, design

Print was part of "A Community View, 150 years in Portland Screenprint Exhibition." Part of CEMA Art Collection. Part of Angela Gee residency workshops, 1983 and 1984.Image of approximately 125 people's faces and two dogs, surrounded by a border of line-drawn flowers, leaves and stems. At top centre are the words "1834 Portland 1984" with a decorative underline in bold alluding to the shape of the Portland Bay and Cape Nelson. Background colours are in vertical swathes: aqua, pale green, apricot, blue, mauve, pink, turquiose.Front: (no inscriptions) Back: Portland C.S.P. (Community Screen Print) Design Studio 1983-1985. Initiated by C.E.M.A., Portland Access Printshop and Anne O'Kane, C.A.O. Purpose - an employment project to train 5 people in print-making, costume and design. A grant of $200,000 was obtained from the Commonwealth Employment Program; the products - costumes, flags, posters, banners - were used for Portlands 150th Anniversary Celebrations.angela gee, portland centenary, 1984, screenprint, cema, female artist, female artists