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. 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 porch area of white rendered house with unpainted variegated brown brick features. Features include the large brick porch with "39" on the wall and a decorative cast iron door, a tiled roof, hooded bay window, sash windows and a man standing on the path leading to the porch. murrumbeena, houses, beauville avenue, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, porches, bay windows, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, gardens, beauville historic area, rendered houses, brick features, cast iron work door, sash windows, people

Colour photograph of a brick building Grit Chamber, beside tunnel entrance on Mt William range. Part of Stawell water supply system. Building has 2 windows and one door. At the door a man is standing with one arm leaning near the door holding a hat. Roof is iron. Background shows trees. Man is Geoff Sudholtz. Building burnt down c2006 with only foundations left.buildings, water supply

Built 1868 for Boarding House. Additions in 1887 - 88. Sold when Robert Anderson's second wife died. Several subsequent owners, back into Anderson Family with Grandson Stan Anderson. Sold again when Stan died. Glen Isla sold to Mr & Mrs Lunn who have restored it to its present condition. Now owned and run as a Boutique B & B by Ian & Madeleine Baker - as at 2019.Photograph of full front view of 2-story weatherboard house with gable roof. Filials at each point of gabled roof. Upstairs wrought iron verandah. Twin gable roofed. Single story adjoined buildings, wooden, wrought iron verandah. figure of woman and large bush in front, one brick chimney.local history, photography, photographs, slides, film, buildings, historic, glen isla homestead, phillip island, black & white photograph, mrs emma anderson jacobs, homesteads

Typical of J C Dahlsen house plan, built 1929 - 1930 by Dahlsen's for A J Legg and family. Mrs M E Legg operated it as 'Kalimna Gardens Tea Rooms' for a few years.Colour photograph of a dwelling at Lookout Road, Kalimna. Lower third of walls weatherboard, upper walls fibro cement. Hip roof of corrugated iron, gablet ventilator at roof ridge, gable over projecting front room. Bullnose veranda has been enclosed on south side. Kalimna Lakes Entrance Victoriahouses

BHS CollectionBlack and white photograph mounted on rectangular brown board. House, weather board below windowsills, rough cast above, two bow windows of 10 lights all leadlighted, twin leadlighted doors, roughcast columns support verandah, front gable, balustraded steps and curved brick wall to verandah. Corrugated iron hipped roof, rough cast chimney with cap of exposed brick. Timber framed fence with woven wire covering and woven wire to gate frame. On back of photo 'Mr. Irwin, Drought Street, sewered £700 for house and land on which it stands 80 x 66 or £875 for house all land through to Stout Street 16.9.36' 2012 photo of house attached to record.Frank H. Jeffree, Photo, Bendigobendigo, business, t c watts and son

In 1848, Francis Rogerson form Dumfriesshire, Scotland purchased 80 acres of land at Kangaroo Ground on which he built a two-roomed bark hut. He named the property afterr the many Bronzewings and Wonga Pigeons in the area. Ewen Hugh Cameron moved to Pigeon Bank the same year he was elected to Parliament as the Member for Evelyn. At the time he moved in, Pigeon Bank had six rooms and the present water well. He made further extensive additions and lived there until his death in 1915. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p27 Pigeon Bank, on the Kangaroo Ground – Warrandyte Road, Kangaroo Ground, is one of the Shire’s oldest farm dwellings, and has been home to some of the district’s earliest and most distinguished families. Although close to the road, the white weatherboard Victorian farmhouse is ensured privacy by the trees and hedges around it. On 4.8 hectares of farmland, Pigeon Bank is surrounded by rolling hills, farmland and bush, the peace of which is punctuated by an occasional birdcall. Pigeon Bank’s first owner was Francis Rogerson, from Dumfriesshire, Scotland, who bought 80 acres (32.4ha) of land in 1848 on which he built a two-roomed bark hut. Today this is the centre piece of the 14-room home.1 Rogerson lined the rooms with tongue-and-groove boards and roofed them with wooden shingles and sapling frames, which remain under the present green corrugated iron roof. He named Pigeon Bank after the many forest bronzewing and Wonga Pigeons in the area at the time, and the name Bank was commonly used in Scotland. Rogerson was united with one of the oldest families in the area when his sister Janet married John Bell, son of William, the original Bell settler. When Ewen Cameron moved to Pigeon Bank in 1874 it had six rooms and the present water well. He made extensive additions to the house and farm buildings and lived at Pigeon Bank until his death in 1915. Cameron, who had arrived in Melbourne from Scotland in 1853, contributed an enormous amount to the community. He worked as a builder, as a miner at Andersons Creek, a storekeeper at Queenstown2 and as the first postmaster at Warrandyte. In 1867 he married Agnes Bell, daughter of local farmer, John Bell. Cameron was a member of the Eltham Road Board (which preceded the Shire Council) and for more than 50 years, from 1863, he was an Eltham Shire Councillor, being President three times. Cameron was the Member for Evelyn for 40 years from 1874. In the 1880s he became the Government Whip, in 1902 the Minister for Mines and Water Supply, and in 1904, the Minister for Health, Cameron was also an outstanding farmer, whose farm won the Agricultural Department prize for the finest in the district, three consecutive times. Not surprisingly Pigeon Bank became the centre of district life. Every New Year’s Eve, Cameron hired a highland piper, who marched from the Kangaroo Ground school house to Pigeon Bank playing his pipes.3 Distinguished visitors included opera singer, Dame Nellie Melba, Victorian Premier, Thomas Bent, Governor, Lord Hopetoun and artist, Longstaff. Following Cameron’s death, the property changed hands several times, then returned to the family in 1919 when bought by Gordon Cameron. As the car took over from the horse, Pigeon Bank entered difficult times because the farm had produced chaff and oats and bred Clydesdales and harness ponies. In 1926 Mr Matthews bought the property and made many alterations including pulling down the kitchen, which had been separate from the main house. The property again changed hands several times. One owner was Senator James F Guthrie, who added a sunroom. In 1968 the house again returned to the Cameron family, when Vera Jackson, a grand-daughter of Ewen Cameron, and her husband, bought the property. The Bishop family, who were sixth and seventh generation Bells and also descended from the Camerons, restored the house in the 1980s. Today tongue-and-groove boards still line part of the hall (which retains two fine arches), the breakfast room, and Ewen Cameron’s former room. Five original fireplaces in the bed and living rooms are still in working order. The wide veranda with a curved iron roof and ornate iron lace work bounds three sides of the house, and nearby a windmill stands beside the water well. Sue and Ron James, who bought the property in 2001, made extensive improvements to the homestead and meticulously restored the grounds to their original state.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, ewen hugh cameron, francis rogerson, kangaroo ground, kangaroo ground-warrandyte road, pigeon bank

Salvation Army Barracks Main Street Stawell. Weatherboard building part roof corrugated iron - remainder wooden shingles. Picket fence in foreground. Large group of people standing and seated on the footpath. The original Salvation Army Barracks is now at the rear of the present Citadel a red brick building. Stawell Corps was opened in the year 1884 in the month of May. The first meeting was conducted in a Church but afterwards the old market (area present Library) was secured for meetings. Captain Furbur and Lieutenant Quick were the first officers appointed. Photograph of a weatherboard building with a group of people standing and sitting in front of a picket fence. Part of the roof of the building is corrugated iron - remainder wooden shingles. The group of people standing and seated on the footpath, are a mixture of adults and children, some in uniforms, women in long dresses. Salvation army Barracks above the building door. Written in handwriting Stawell Barracks Mrs. R.J. Reeve.stawell religion

Built in 1888, which was 5 years before water reticulation came to Surrey Hills. It originally relied on rainwater and a well (still in existence in 2009) was located near the back door. From 1921 this was the home of Mr Natale and Mrs Ethel May Cerini and their family. It remained in the family until it was sold in May 2015. The Cerinis had 2 daughters - Jocelyn Francesca and Lynette Lorraine . The house passed to Jocelyn after her parents' deaths. Mr Cerini named the house after a property in NSW called 'Goonoogoonoo' where he had worked. It had been named 'Montiere' at a previous time. Natale was an accountant and very active in community affairs, especially after his retirement. The house was originally on a double block. [Additional information: Ken Hall - 2/12/2009] The first owner was A Embling, followed by Mrs L A Campbell. [Ref: Alan Holt property register] A Embling was most likely Austin Henry Chinnock Embling (1867, Ballarat East - 2 OCT 1900), eldest son of Dr Dr William and Elizabeth Embling (née Austin). His wife was Sybil Mary Mildred (MS: Edlin), born in Adelaide, whom Austin Embling married in 1898. Black and white photo of a Victorian style house with 3 brick chimneys, a slated roof and a verandah on 2 sides. It has iron lacework and the roof is striped corrugated iron. It sits behind a picket fence. The spire of Surrey College can be seen behind the trees at the rear of the house. In the street is an electric light pole and an immature tree within a picket protection guard.Paper type-written tags mounted at the bottom of the photo - LHS: " Built 1888"; RHS: "215 Union Road in 1920 / Surrey College can be / seen behind the trees."houses, victorian style, goonoogoonoo, surrey college, street trees, natale cerini, kenneth tudor hall, ken hall, jocelyn cerini, jocelyn hall, ethel may swan, ethel swan, ethel cerini, jocelyn francesca cerini, natale benjamin cerini, natale benjamin john andrea cerini, ethel may cerini, lynette lorraine cerini, lynette lorraine lazarus, austin embling, austin henry chinnock embling, sybil mary embling, sybil mary edlin, sybil mary mildred, montiere, goonoo goonoo, lynette cerini

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.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. See Significance Statement in Glen Eira’s Heritage Management Plan by Andrew Ward (1996) Vol 2 p.79. Available from https://www.gleneira.vic.gov.au/media/4779/heritage_management_plan_volume_2.pdf (Note see p.84 of pdf)Colour photograph of unpainted variegated brown brick house with "Kileen 28" in cast iron on the front wall. Other features include a porch with white cast iron work door, tiled roof, chimney, striped window awnings and low unpainted brick fence with a brown metal letterbox in the foreground beside the driveway. The house has an unusual pitched roof with timber eave on the right side of the house.Kileen / 28murrumbeena, houses, beauville avenue, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, porches, arches, letterboxes, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, gardens, beauville historic area, cast iron work, house names, kileen, brick features, brick chimneys, striped awnings, brick fences, metal letterboxes, roofs

George Tibbits, University of Melbourne. Faculty of Architecture, Building and Town & Regional PlanningIndex system that support the research for Beechworth : historical reconstruction / [by] George Tibbits ... [et al]Arranged by street names of BeechworthEach index card includes: street name and number of property, image of property, allotment and section number, property owners and dates of ownership, description of the property according to rate records, property floor plan with dimensions.beechworth, george tibbitsbeechworth, george tibbits

George Tibbits, University of Melbourne. Faculty of Architecture, Building and Town & Regional PlanningIndex system that support the research for Beechworth : historical reconstruction / [by] George Tibbits ... [et al]Arranged by street names of BeechworthEach index card includes: street name and number of property, image of property, allotment and section number, property owners and dates of ownership, description of the property according to rate records, property floor plan with dimensions.beechworth, george tibbitsbeechworth, george tibbits

Series of Black & White Photos of Hill Family and Friends during the war and post war life. Total 8 Photos. Welcome Parade General Pa n Bendigo October 21, 1918, tram wiring post in street, large two storey building in the background named Stanley's Coffee palace at corner of Mitchell and Mollison streets, Large crowd on roadway, Covered wagon among crowd with Good Shepherd laundry written on the side, foreground shows General Pau being driven through the crowd, General Pan is wearing a Napoleon style hat. Doreen dressed in a light coloured dress with white collar standing before a hedge, at rear is part of a corrugated iron roof gable, S.H.L.C. 27 September 1918. Group of four ladies three dressed in white and other a darker colour all seated on the ground, distant background a row of trees along a fence line, tea time Hibernian picnic Axedale 13 November 1918. Three women and young boy all seated on the ground, the ladies are all in white and two wearing white hats, young boy is dressed in suit with white shirt and dark tie and his right hand is pointing to his open mouth, to their right is a wooden structure and distant background more people can be seen, dinner time Hibernian picnic Axedale 13 November 1918. Overdeveloped photo of two young men standing between two shrubs and in front of a full length external window blind, 'The Ranche' February 1918. Group of four males dressed in dark coats and grey trouser at the snow Mt. Buffalo July 1923. Baby Irene clothed in white with bonnet seated in an English style pram with large wheels, picket fence and shrubbery in background, may 1918. Gert dressed in white shirt dark cardigan and dark skirt standing in front of hedged garden and trees, a small part of a roof can be seen between the trees, Railway Reserve 1918.Hilda Hill Personal Collectionaustralia, history, post war life

Hilda Hill Collection. Combination of Sepia and Black & White Photos. (Total 16.) two men with arms on each others shoulders, both with legs crossed, background shows large group of people and large trees, Hibernian Picnic November 19th 1919. Elderly lady holding two bird cages with birds therein standing in front of large flowering bush, the lady is dressed in all white and her hat lies on the ground in front of her, the hat appears to have flowers on the brim. Mrs Mc'Rosebower' October 1919. Hilda V. Standing with a background of shrubbery, wearing a dark dress, photo not very clear, 'The Ranche' March 1921. The Pinnacle One Tree Hill, people on the top lookout area and the wooden staircase for access, note the iron roof at the first level to provide shelter at ground level, April 1920. Lady on a ladies bicycle, dressed in geometric patterned dress, in front of an old shed with a corrugated iron roof. The bicycle has a front and rear mudguard, 'The Ranche' January 1920. Three ladies, the lady on the left is wearing a white dress with a black belt and holding in her right hand a small bag with a handle, the middle lady is wearing a dress of another colour with three strips of material at different levels on the front and holding her hands at her waist, also wearing lace up boots, lady to the right is wearing a white blouse and a dark skirt and her hands behind her back, background is garden, 'Durvol' December 1919. Photo of young girl dressed in black standing next to a small bush with her back to a house exterior wall, to the left is a white wall, NO Details.Three ladies standing beneath a large tree arm in arm, left girl is wearing a white top with a black belt and dark skirt, Centre girl is wearing a white top and dark skirt, girl at right wearing coloured? Dress with matching sash belt,'Durvol' December 19th 1919. Two men and three ladies in a rowing boat on lake Weeroona, both men are wearing dark suits and hats, the ladies are all in light coloured clothing and also wearing large brimmed hats. Kath wearing a black dress with a fox skin stole and holding a large bag in her right hand in garden setting, left background is a corrugated iron fence with wooden top rail, to the right is the wall of a building, September 1919 'the Ranche'. Jack wearing a black coat and jodhpurs with a white high neck jumper leaning on a wire and netting farm type fence, Mt. Buffalo July 1923. Photo of a 'Rosebower' in a garden corner, right shows part of a picket fence, wear and tear indicates that a gate may be in the fence accessible through the bower, October 1919. Two ladies holding tennis racquets, dressed in white blouses with one dark dress and the other a lighter shade sitting on stool inside a netted tennis court, both ladies are wearing large brimmed hats, background is a house with a water tank on the left end, three decorative chimneys, tiled roof, decorative panelling below the guttering, 'Kilmuir' October 1919. Lady on dark coloured horse, the lady is wearing a white blouse and jodhpurs and a large brimmed hat, background is house showing a bow window three chimneys and a small portion of the decorative fretwork below the gutter line of the verandah, 'Kilmuir' October 1919. Two young men dressing collar and tie one wearing a coat and three young ladies reclining on the ground, girl on the left is wearing a light coloured dress white blouse and cardigan, middle girl wearing a short sleeved top, right lady is wearing white blouse and dark coat, in foreground there appears to be a pudding meat and a wine bottle, left edge another male can be partially seen lying on the ground with a bottle in his left hand, at 'Monte Video' after dinner 18 July 1924. Ten people sitting and standing on a veranda, 'The Ranche', celebrating an event, small 4 wheel table with food, person front left holding a white cup and saucer, July 1924.australia, history, victoria post war touring boom, http://www.yourbrisbanepastandpresent.com/2012_02_01_archive.html

Frank Wright was a renown resident of Smeaton, where he was born on 2 August 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. 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 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.Black and white photograph of an ornate bandstand built on a grassed area and set high with seven wooden steps leading up to the platform. Under the domed roof, wrought iron lacework extends between the six supporting columns and an ornate, waist-high lacework balustrade encloses the space. At ground level, the bandstand is enclosed by a fence and in the background are leafy trees. Within the bandstand a brass band can be seen performing. The band is the St. Hilda's Band with Frank Wright as its conductor. The place is Windsor.Written in pencil on the back - St. Hilda's, Frank Wright Conductor, Windsor, 24/5/34frank wright, conductor, brass band, st hilda's band, windsor, bandstand, wrought iron lacework

From the Victorian Heritage Register statement of significance H0791 The Marmalake/Murtoa Grain Store, originally the No.1 Murtoa Shed, is located within the Murtoa Grain Terminal, adjacent to the grain elevator tower and railway line. The shed is 280m long, 60m wide and 19m high at the ridge with a capacity of 3.4 million bushels. The hipped corrugated iron roof of the shed is supported on approximately 600 unmilled hardwood poles set in a concrete slab floor and braced with iron tie rods. These poles are the reason for use of the term "stick shed". With its vast gabled interior and the long rows of poles the space has been likened to the nave of a cathedral. An elevator at one end took wheat from railway trucks to ridge level where it was distributed by conveyor along the length of the shed, creating a huge single mound of grain. Braced internal timber bulkheads on either side took the lateral thrust of the wheat, and conveyors at ground level outside the bulkheads took wheat back to the elevator for transport elsewhere. Wheat had been handled in jute bags from the start of the Victorian wheat industry in the mid nineteenth century. Bulk storage had been developed in North America from the early 1900s. NSW began building substantial concrete silos from 1920-21. In Western Australia, farmers' co-operatives, who had to supply their own bulk storage from 1934-5, pioneered the use of low-cost horizontal sheds of timber and corrugated iron for bulk storage. Following its establishment in 1935 the Victorian Grain Elevators Board (GEB) planned a network of 160 concrete silos in country locations, connected by rail to the shipping terminal at Geelong. By the outbreak of the Second World War there was a worldwide glut of wheat, and Australia soon had a massive surplus which it was unable to export. Only 48 silos had been established under the Victorian Silo Scheme so far, and wartime material and labour restrictions prevented progress with this scheme. The storage deficit had become an emergency by 1941 as Britain obtained its imports from North America, rather than over the lengthy and difficult shipping route from Australia. In 1941 the GEB, under chairman and general manager Harold Glowrey, proposed large temporary versions of the horizontal bulk storage sheds already in use in Western Australia. The proposal was approved by the Victorian Wheat and Woolgrowers Association, who considered the use of shed storages as a longer term proposition. After initial resistance from the Australian Wheat Board, some of whose members represented wheat bagging interests, the Commonwealth and Victorian governments agreed to split the costs, and Murtoa was chosen as a suitable site for the first emergency storage. The main contractor, Green Bros, commenced work on the No.1 Murtoa Shed in September 1941, deliveries of bulk wheat began in January 1942, and the store was full by June of the same year. In the following years the Council for Scientific and Industrial Research (later CSIRO) conducted valuable research and experiment on the impacts and control of insect pests at the Murtoa No.1 shed. With these discoveries, and the development of more effective pesticides, use of the No.1 shed and the larger No.2 shed, erected in 1942/43, continued for many years. The No.2 shed was demolished in 1975. By the 1990s, pest resistance to pesticides and requirements for both pest free and insecticide free grain rendered open storage of this type unviable. The No. 1 store was also becoming increasingly expensive to maintain, and its use was phased out from 1989.Image of the Marmalake/Murtoa Grain Store which is of historical, architectural, scientific (technical) and social significance to the State of VictoriaDigital colour image of the interior of the Marmaduke . Murtoa grain storage facility better known as the Stick Shed. The shed was constructed in World War Two to store grain. The supporting columns are trees.marmalake, murtoa grain store, wheat store, stick shed, murtoa

George Tibbits, University of Melbourne. Faculty of Architecture, Building and Town & Regional PlanningIndex system that support the research for Beechworth : historical reconstruction / [by] George Tibbits ... [et al]Arranged by street names of BeechworthEach index card includes: street name and number of property, image of property, allotment and section number, property owners and dates of ownership, description of the property according to rate records, property floor plan with dimensions.beechworth, george tibbitsbeechworth, george tibbits

Black and white photograph of the Bendigo Hotel located in Bridge street. All nine windows are multi paned. There are two men and a boy standing in the doorway. Opposite the door stand and man and a boy near the cart belonging to Batchelder the Photographer. The man is wearing bowler hat. A corrugated iron fence spans the gap to the next building. The first building in the line is build using corrugated iron for the roof and walls. These retail establishments have a verandah along the footpath. A small group of retail staff are standing around watching the proceedings in the street. Two shops are name; J. Holdsworth and Glass & China warehouse. There may have been recent rain as the roadway appears to be puddled and quite damp.bendigo, history, buildings/streetscapes

Originally built by John Hill, a shoemaker at Kangaroo Ground around 1878. In the late 1970s when our Society was the Shire of Eltham Historical Society, an offer was made to the Society regarding use of an old cottage at Christmas Hills. The cottage sat beside Watsons Creek just outside the then Shire of Eltham but following municipal restructuring it now lies within the Shire of Nillumbik. For various reasons the offer ultimately lapsed. At that time some research on the cottage was carried out for the Society by Keith Chappel as part of a larger research project that he was doing. Keith’s notes were taken from Lands Department records and showed that the property was the subject of a permissive occupancy of Crown land comprising the creek reserve. In 1903 a Miner’s Right of one acre in area was granted to Edwin Samuel Birch. In 1907 Birch applied to purchase this land but was unable to because it was part of the creek reserve. The documents show that the cottage existed at that time. Upon Birch’s death in 1932, his daughter, Honor Mary Birch was granted a permit to occupy the residence. Honor Mary Birch, known as Nora, was born 1900, the daughter of Edwin Samuel Birch and Honor (nee Young). In 1939 she married George Henry Williams (aka Henry). Honor died 8 July 1976. Her siblings were Margaret Martin (dec), Bert Birch and Brigidene Brinkkotter. In her will she gave and bequeathed “all the improvements on the land held by me at Christmas Hills under Permissive Occupancy from the Department of Land and Survey consisting of the house property thereon and all the contents of the said house to my nephew Brian Joseph Martin of Christmas Hills aforesaid farmer”. The will described the property as a four room, five square house, about 100 years old with enclosed verandah, including kitchen, combined lounge dining room, bedroom and store room; built of ‘bush slabs’ with a corrugated iron roof. A dairy had been erected in 1935. After her death, the property was acquired by the Melbourne Metropolitan Board of Works in 1978. The property is listed on the Victorian Heritage Database HO200-Hill, later Birch farm complex, 945 Eltham-Yarra Glen Road, Watsons Creek and described as: The house has a steep but simply gabled roof form clad with corrugated iron, vertical adzed hardwood slab front wall construction, split palings to the gable ends; rubble freestone chimney at one end (with added gsi flue), pole-framed Graeme Butler & Associates, 2006: 101 Shire of Nillurnbik Planning Scheme Amendment C13 Heritage Assessments verandah (rebuilt?); six-pane double-hung sash windows; T&G bead-edge boarded ledged & braced door; and paling clad rooms added at verandah ends. A slab-clad large fireplace is at the north corner of the house, with a gsi upper cladding added and an internal lining of rubble stone. The rear facade is different construction, being drop-slab, and sits beneath a rear skillion addition to the main gabled form: this may be more recent construction. The house appears to have been once set up for public display and may have been recreated in part for that purpose. Outbuildings are reached by a track along the east side of the house, including what may have been a creamery (typical standard inter-war design clad with corrugated iron and lined with 1938 Lysaght Queens Head Australia galvanised sheet iron) and a paling clad gabled out-house. Timber outbuildings of differing eras are to the north-west of the house, with pole framing and paling infill construction and Redcliffe brand corrugated iron. Post and rail (front) and split paling (rear) fence remnants line the front boundary. Pepper trees part of house yard landscape49 born digital images (includes one panoramic stitch and nine frames from drone video)birch cottage, christmas hills, early settlers, edwin samuel birch, honor mary birch, john hill, watsons creek

Residence Fountainhead Brewery Armstrong's Est. c 1872. The rear view photograph shows a more recent renovated building. Some evidence of demolition to rear of building (servants stairs etc.) Following notes taken from information in album 9 - "Compare earlier photos and note balcony etc. Later views, This photo early 2003. Owing to timber decay balcony was removed for safety. Finances permitting complete balcony will be replaced. Twin columns and iron lace are not original. Early description mentions statues in "niches" beside door. Female statue left is original. White pedestal at left was male stature damaged by a falling tree. Both statues were fountains." Photographs taken by Mr. Don Richard and held in Album 9b Armstrong’s Area.Two coloured photographs, of a brick double story building. The front view of the building has 4 windows and 2 doors. Two white columns at the entrance with decorative iron work support the roof of the porch with 2 white chairs and a table on top. Either side of the entrance door are 2 white wall indents "niches" with pot plants. The second photo show the back view of the two story building with a single story building attached that has a tin roof. A timber fence with a gate shows the side entrance to the single story building. 648M NHNN 8H01HPRO3 WIMMERA 1MHGINGstawell

Myrtleford Ski Club is a non-commercial, family friendly club. It was one of the earliest lodges to be built at Falls Creek and was one of the earliest ski clubs formed and celebrated its 75th anniversary in 2013. In 1949, Myrtleford Ski Club obtained permission for occupancy and began planning the MSC Lodge. There were only three other huts on the mountain, Bogong Ski Club in an old Army hut, Skyline as the Ski Club of Victoria lodge and the Albury Ski Club lodge. The lodge was built mostly from donated materials. The basement was dug out and lined with stone from the Ruined Castle area, timber was cut (using cross-saws) from the Walpole properties and was milled then carted up to Falls Creek on either the Walpole or Calvert trucks. The iron on the roof was originally a tobacco kiln on Billy McNamara's property. The lodge has undergone many improvements over the years including a second storey added in the 1950’s, updating of accommodation, shower and toilet facilities to meet the changing needs of members. The lodge now caters for 38 people in a variety of shared rooms from two to eight beds per room. Toilet and shower facilities are also shared. The club has a Lodge Managers for the winter season. Myrtleford Ski Lodge was one of the earliest ski lodges built in the Falls Creek area in 1938. It is an excellent example of early sporting and community activities in the Upper Kiewa Valley area. Photograph shows family members, including women, involved in the construction.Sepia photograph of the building of the Myrtleford Ski Club about 1948Handwritten on the back of photograph in black pen - Building Myrtleford Ski Club (about 1948) Stamped on back of photograph - 6 2511myrtleford ski club, skiing, snow sports, victorian alps, falls creek

"The Mechanics Institute movement flourished in Victoria from 1839 to 1950. It was based on the development of Mechanics’ Institutes in Scotland and England from the 1820s, which were intended to educate and enlighten the working classes. The term ‘mechanic’ in those days meant an artisan, craftsman or working man, especially those who had moved from rural areas to work in new city factories during the Industrial Revolution. The early Institutes were usually equipped with a reading room, a library and a lecture room. Although enjoying mixed success in Britain, they contributed to the development of public education and library services. The movement was adopted more enthusiastically in the colonies. It began slowly in Victoria but its expansion after the gold rushes population influx was rapid, especially in rural areas. Every suburb and town wanted to have a Mechanics’ Institute. During the 1850s approximately forty Institutes were established, with even greater growth in the period 1860 to 1900. By 1900 there were 400 Institutes in Victoria. The establishment of a Mechanics’ Institute was often a great achievement for a local community, requiring organising committees to raise substantial funds for a building site (where this had not been granted by the Government), and the building. Once built, the committee then had to purchase books, provide a caretaker or librarian, and finance the ongoing use of and improvements to the building. ‘The history of many Institutes is a story of tremendous community effort, and often, financial difficulties’. In addition to being monuments to local enterprise and community life, the Mechanics’ Institutes played a vital role as an intellectual forum, and in contributing to an informed and participatory democracy in the late nineteenth and early twentieth centuries. They provided journals and other reading matter on local, state, national and international issues, and hosted of lectures and held debates about wider issues such as Federation, colonial nationalism, defence, female suffrage, the price of land and labour. With the development of the school and technical education in the latter part of the nineteenth century, the need for community technical and adult education declined. As a result of the introduction of government library grants in 1867, many Mechanics’ Institutes incorporated a free library in their buildings to finance collection of their books. By 1884-85, there were 257 free libraries in Victoria. However, government support and library grants dropped off in the 1890s depression. Entertainment took on a greater role in the 1890s, with the introduction of moving pictures, billiards rooms, games rooms (chess), concerts and dances. The First World War had a devastating impact on many rural communities, and some Mechanics’ Institutes were no longer viable. On the other hand the early twentieth century was also a time of agricultural development, and many country towns were growing in this period. The 1930s depression further limited growth of many libraries and reduced grants substantially. In response many Mechanics’ Institutes were renamed, for example as memorial halls, in order to retain and attract more patrons (eg at nearby Sunbury). The diminishing role for Mechanics’ Institutes and the preference for larger and better appointed halls (with supper rooms, cloak rooms etc) resulted in demolition of some small Institutes. The advent of cars, radios, and television also provided other opportunities for recreation, learning and entertainment. The greater role of municipalities in providing library services also eroded the need for free libraries. While over 500 Mechanics’ Institutes or halls are extant, very few of these retain their original role as ‘diffusers of useful knowledge’. Most are still available for community purposes, as venues for meetings, socials, civic occasions etc, while others are employed as museums, shops and theatres. Most buildings are on Crown land, and managed by a delegated committee of management, who are responsible for raising revenue to maintain aging buildings. Many of those which were originally established on private land, such as Melton, have since reverted back to the Crown, and municipal Councils. The most common Mechanics Institute building form is the simple weatherboard gable building with iron roofs, notable for their ‘honest simplicity’ rather than as ‘monuments of the ancients’. At the other extreme there are some magnificent two storeyed brick and stucco structures with elaborate ornamentation (as was apparently envisaged by some in Melton in 1905-10)". The future of Melton Mechanic Institute Gazette articlelocal architecture

"On 17th May 1858 a State subsidised, combined Denominational School was opened by HT Stokes, with an attendance of about 30 children. This school was conducted in the wooden Melton Combined Protestant Church, situated on ‘a creek flat’ thought to be on the north side of Sherwin Street between Pyke and Byran Streets. It is likely that the Church had been established by 1855 and that the first minister was the Rev. Hampshire, who lived in Cambridge House on the Exford Estate. Ministers of the Protestant denominations were invited to hold services there. As there was only one resident Minister in the town (Presbyterian Mr J Lambie), laymen of the various denominations often spoke on Sundays. In 1863 this building was declared a Common School with the number 430. One of its first and most prominent headmasters was John Corr, who served from 1860 to 1864. Most of Mr Corr’s children also became teachers, including Joseph Corr, at the Rockbank school, and J Reford Corr and WS Corr, headmasters and teachers at numerous prestigious private secondary schools around Australia. John Corr purchased land alongside the school and elsewhere in and near Melton, became secretary and treasurer of the new Cemetery Trust, and by July 1861 was deputy registrar of births, deaths and marriages. He walked three miles every Sunday to teach at the Weslyan Sunday School he had established. Despite good reports from the Education Department Inspector, and burgeoning enrolments, the local school committee recommended the dismissal of, firstly, his wife (from the work mistress position), and then him from the headmaster position. Corr saw his dismissal as an attempt to redirect state aid for education from the Combined Protestant school to the support of the Free Presbyterian Minister Rev James Lambie (by one account the owner of the land on which the Common School was erected), whose son-in-law James Scott subsequently assumed responsibility for the school. Rev Lambie failed in his efforts to keep the existing school, which the Education Department Inspector and the majority of Melton citizens regarded as badly situated and badly built. Following a conditional promise of state aid, local contributors in 1868-69 raised ₤72.10.6 towards the cost of an iron-roofed bluestone rubble building 43 ft x 12 ft. This was erected on a new site of 1.5 acres (the present site). The State contributed ₤120 to the new school, which opened in 1870. A very early (c.1874) photograph of the school shows its headmaster and work mistress / assistant teacher (probably James Scott and his wife Jessie) and its (very young) scholars. Similar photos show pupils in front of the school in c.1903, and 1933. In 1877 a second bluestone room costing ₤297 was added and further land acquired from the Agricultural Society (who only needed it two days a year) to enlarge the schoolground to 3 acres. In the early 1880s an underground tank augmented the school water supply and in 1919 a five-roomed wooden residence was added. During this period the school correspondents often compained that the walls of the bluestone buildings were damp, affecting the plaster. In 1923 a brick room 26 ft 6 in by 24 ft with a fireplace and four rooms facing south, was added, and a corridor built to link the three buildings. This served adequately for the next 40 years. The school bell probably dates to 1883. The school also has a memorial gate (1951) to World War One ex-students, and an honour board to the 64 ex-students who served in the First World War. The school roll fell to 42 in the early post war-years, but was boosted by an influx of migrants, mainly from the UK, from the late 1960s. This presaged the boom in Melton’s development, and the corresponding growth of the school, with timber and temporary classrooms added to the previous masonry ones. An endowment pine plantation established in 1930 augmented the school’s fundraising activities when it was harvested in 1968. Part of the site was planted with eucalyptus trees in 1959. Famous ex-students of the early twentieth century included Hector Fraser (internationally successful shooter) and cyclist Sir Hubert Opperman". Photo of Edna and Margaret Barrie with Miles Baunders taken for the Telegrapheducation, local identities

On 17th May 1858 a State subsidised, combined Denominational School was opened by HT Stokes, with an attendance of about 30 children. This school was conducted in the wooden Melton Combined Protestant Church, situated on ‘a creek flat’ thought to be on the north side of Sherwin Street between Pyke and Byran Streets. It is likely that the Church had been established by 1855 and that the first minister was the Rev. Hampshire, who lived in Cambridge House on the Exford Estate. Ministers of the Protestant denominations were invited to hold services there. As there was only one resident Minister in the town (Presbyterian Mr J Lambie), laymen of the various denominations often spoke on Sundays. In 1863 this building was declared a Common School with the number 430. One of its first and most prominent headmasters was John Corr, who served from 1860 to 1864. Most of Mr Corr’s children also became teachers, including Joseph Corr, at the Rockbank school, and J Reford Corr and WS Corr, headmasters and teachers at numerous prestigious private secondary schools around Australia. John Corr purchased land alongside the school and elsewhere in and near Melton, became secretary and treasurer of the new Cemetery Trust, and by July 1861 was deputy registrar of births, deaths and marriages. He walked three miles every Sunday to teach at the Weslyan Sunday School he had established. Despite good reports from the Education Department Inspector, and burgeoning enrolments, the local school committee recommended the dismissal of, firstly, his wife (from the work mistress position), and then him from the headmaster position. Corr saw his dismissal as an attempt to redirect state aid for education from the Combined Protestant school to the support of the Free Presbyterian Minister Rev James Lambie (by one account the owner of the land on which the Common School was erected), whose son-in-law James Scott subsequently assumed responsibility for the school. Rev Lambie failed in his efforts to keep the existing school, which the Education Department Inspector and the majority of Melton citizens regarded as badly situated and badly built. Following a conditional promise of state aid, local contributors in 1868-69 raised ₤72.10.6 towards the cost of an iron-roofed bluestone rubble building 43 ft x 12 ft. This was erected on a new site of 1.5 acres (the present site). The State contributed ₤120 to the new school, which opened in 1870. A very early (c.1874) photograph of the school shows its headmaster and work mistress / assistant teacher (probably James Scott and his wife Jessie) and its (very young) scholars. Similar photos show pupils in front of the school in c.1903, and 1933. In 1877 a second bluestone room costing ₤297 was added and further land acquired from the Agricultural Society (who only needed it two days a year) to enlarge the schoolground to 3 acres. In the early 1880s an underground tank augmented the school water supply and in 1919 a five-roomed wooden residence was added. During this period the school correspondents often compained that the walls of the bluestone buildings were damp, affecting the plaster. In 1923 a brick room 26 ft 6 in by 24 ft with a fireplace and four rooms facing south, was added, and a corridor built to link the three buildings. This served adequately for the next 40 years. The school bell probably dates to 1883. The school also has a memorial gate (1951) to World War One ex-students, and an honour board to the 64 ex-students who served in the First World War. The school roll fell to 42 in the early post war-years, but was boosted by an influx of migrants, mainly from the UK, from the late 1960s. This presaged the boom in Melton’s development, and the corresponding growth of the school, with timber and temporary classrooms added to the previous masonry ones. An endowment pine plantation established in 1930 augmented the school’s fundraising activities when it was harvested in 1968. Part of the site was planted with eucalyptus trees in 1959. Famous ex-students of the early twentieth century included Hector Fraser (internationally successful shooter) and cyclist Sir Hubert Opperman. Pen, flag and flyer from the Melton State School Centenary celebrationseducation, local significant events

George Tibbits, University of Melbourne. Faculty of Architecture, Building and Town & Regional PlanningIndex system that support the research for Beechworth : historical reconstruction / [by] George Tibbits ... [et al]Arranged by street names of BeechworthEach index card includes: street name and number of property, image of property, allotment and section number, property owners and dates of ownership, description of the property according to rate records, property floor plan with dimensions.beechworth, george tibbitsbeechworth, george tibbits

History of the Place "On 17th May 1858 a State subsidised, combined Denominational School was opened by HT Stokes, with an attendance of about 30 children. This school was conducted in the wooden Melton Combined Protestant Church, situated on ‘a creek flat’ thought to be on the north side of Sherwin Street between Pyke and Byran Streets. It is likely that the Church had been established by 1855 and that the first minister was the Rev. Hampshire, who lived in Cambridge House on the Exford Estate. Ministers of the Protestant denominations were invited to hold services there. As there was only one resident Minister in the town (Presbyterian Mr J Lambie), laymen of the various denominations often spoke on Sundays. In 1863 this building was declared a Common School with the number 430. One of its first and most prominent headmasters was John Corr, who served from 1860 to 1864. Most of Mr Corr’s children also became teachers, including Joseph Corr, at the Rockbank school, and J Reford Corr and WS Corr, headmasters and teachers at numerous prestigious private secondary schools around Australia. John Corr purchased land alongside the school and elsewhere in and near Melton, became secretary and treasurer of the new Cemetery Trust, and by July 1861 was deputy registrar of births, deaths and marriages. He walked three miles every Sunday to teach at the Weslyan Sunday School he had established. Despite good reports from the Education Department Inspector, and burgeoning enrolments, the local school committee recommended the dismissal of, firstly, his wife (from the work mistress position), and then him from the headmaster position. Corr saw his dismissal as an attempt to redirect state aid for education from the Combined Protestant school to the support of the Free Presbyterian Minister Rev James Lambie (by one account the owner of the land on which the Common School was erected), whose son-in-law James Scott subsequently assumed responsibility for the school. Rev Lambie failed in his efforts to keep the existing school, which the Education Department Inspector and the majority of Melton citizens regarded as badly situated and badly built. Following a conditional promise of state aid, local contributors in 1868-69 raised ₤72.10.6 towards the cost of an iron-roofed bluestone rubble building 43 ft x 12 ft. This was erected on a new site of 1.5 acres (the present site). The State contributed ₤120 to the new school, which opened in 1870. A very early (c.1874) photograph of the school shows its headmaster and work mistress / assistant teacher (probably James Scott and his wife Jessie) and its (very young) scholars. Similar photos show pupils in front of the school in c.1903, and 1933. In 1877 a second bluestone room costing ₤297 was added and further land acquired from the Agricultural Society (who only needed it two days a year) to enlarge the schoolground to 3 acres. In the early 1880s an underground tank augmented the school water supply and in 1919 a five-roomed wooden residence was added. During this period the school correspondents often compained that the walls of the bluestone buildings were damp, affecting the plaster. In 1923 a brick room 26 ft 6 in by 24 ft with a fireplace and four rooms facing south, was added, and a corridor built to link the three buildings. This served adequately for the next 40 years. The school bell probably dates to 1883. The school also has a memorial gate (1951) to World War One ex-students, and an honour board to the 64 ex-students who served in the First World War. The school roll fell to 42 in the early post war-years, but was boosted by an influx of migrants, mainly from the UK, from the late 1960s. This presaged the boom in Melton’s development, and the corresponding growth of the school, with timber and temporary classrooms added to the previous masonry ones. An endowment pine plantation established in 1930 augmented the school’s fundraising activities when it was harvested in 1968. Part of the site was planted with eucalyptus trees in 1959. Famous ex-students of the early twentieth century included Hector Fraser (internationally successful shooter) and cyclist Sir Hubert Opperman". Ticket for the Grand Centenary Ball at Melton State School 430education, local significant events

The Manchester Assurance Company. Duplicate Fire Policy No. 8277256. Name of insured: Frank J. Every, sum insured 940 pounds premium 3 pounds 4 shillings 4 pennies. Expires on the 20th day of December, 1924. Insured are two buildings described as No.1 and 2 in the proposal for this insurance dated 20th December 1923, each of one storey having walls of wood, roof of iron, situate at the corner of Napier and Bosquet Street, White Hills, occupied by the insured No. 1 as a Dwelling house only, No. 2 as a motor shed only. On the building 1 900 pounds, building 2 40 pounds. Attached are 3 renewal certificates: 52007 from 20/12/1947 to 20/12/1948, 56299 from 20/12/1948 to 20/12/1949 and 60917 from 20/12/1949 to 20/12/1950.business, legal, manchester assurance company

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

Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road