This file contains four items about the history of the church: 1/Typed letter dated 17/05/1977 from Mrs. C. Fergusson for the Murrumbeena United Church to accompany Item 2. 2/Four original copies plus a photocopy of ‘St. Giles Presbyterian Church Murrumbeena (An Outline of Sixty-five Years of Progress) 1890-1955’. These include lists of clergy, significant congregational members etc. One of the books is noted ‘Doble’ on the cover, as sent by Allan Doble in Item 3. 3/Handwritten letter dated 15/01/1999 from Allen Doble which accompanied one of the books at Item 2. This letter includes information on Dr Seymour, first Minister at St. Giles. There is also a typed excerpt from the letter. 4/Handwritten note, undated, by person unknown about two Foundation Stones and the Aeneas McDonald Memorial Hall at St. Giles.st. giles presbyterian church, murrumbeena united church, murrumbeena, murrumbeena road, carnegie, rosella street, doble allan, pollock a.l. rev., mclaurin archibald, thomson jean a., ferguson c. mrs., davey. e.t., frith d., riach f.j., doble mrs., memorials, mclaurin jean, ‘frogmore’, ardyne estate, carnegie, rosstown, woornack road, oakleigh road, koornang road, will h. clay nursing home, wahgoo street , innellan road , ardyne street, dunoon street, bute street, toward street, ariadne avenue, burns avenue, thomson avenue, barkley-thomson jean, scott william jones, scott william, scott george, scott john, scott mrs., shearer john, lacey mr., merry mr., hitchcock mr., wilson mr., dawson mr., matters mr., shearer janet bone mcewan, shearer ariadne, shearer elizabeth, mclaurin elizabeth, carpenters, shearer peter, mclaurin archibald, seymour j.a. rev. dr, cullen robert j.s., hamilton james, hethersett grove, sutherland i.b., manses, churches, presbyterian church, clergy, ministers, robertson john kirkland rev., sunday schools, liddelow elsie, seymour elsie, day linda, macdonald aeneas, borland frank, falconer messrs n. and s.a., kelly hugh rev., shearer mary macpherson, mcnabb hugh, william louis r., architects, crabb t.f., murrumbeena presbyterian church, mcleod robert, elmore frank, cayser stella, dowding keith mccallum, howden william b., thompson w.h., lyle n., anderson mr., angus mr., inglis mr., donald w.g., thompson j.g., gilbert w.r. , dickson percy, van nooten j.w., moore r.s.m., wreen w., chambers paris, brown c., lavender e., price n., birtchnell o.e., shearer m., rae w.f., hurdman m., bates clarice, lawrie tom, morris t.w. and son, builders, macdonald elspeth, mckinnon j.s., buntine w.j., kerr w.j., porter a.j., cooper mrs., haddon and henderson, foundation stones, church groups, halls, mclean r.w. rev., macdonald a.e. rev., williams louis r. (architect), crabb t.f. (builder), aeneas macdonald memorial, millar d. right rev. moderator, falcolner n. and s.a. (builders), koornang uniting church

This lamp is typical of lamps used in Welsh Coal Mines. It was purchased from the supplier around mid 1995. The Welsh Miners’ Lamps were ingeniously designed over 180 years ago to alert coal miners to danger. It ensures the burning of a protected flame in the presence of explosive gas, by regulating the necessary supply of atmospheric air, and by allowing the products of combustion to pass through without igniting the gaseous atmosphere. If the atmosphere is so heavily charged that noxious gas enters the lamp, its presence will be indicated by a change in the length and color of the flame, and (unless there are exceptional circumstances), the miner has sufficient warning to secure his safety. (http://www.welshminerslamps.com/info_lamp_personaluse.shtml, accessed 06/05/2015) E. Thomas & Williams, Ltd. mining lamps have been in continuous production since 1860. Cambrian Lamps are approved for use in coal mines where methan gas and oxygem deficinecy are hazards.Solid Brass traditional miners Flame Safety Lamp with Copper Chimney. The base of this lamp is tooled from solid brass because brass does not spark when it hits rock and is therefore the safest metal to use underground. The lamp burns lamp oil (kerosene). R. Thomas and Williams Ltd Makers Aberdare Wales Cambrian No 152897mining lamp, miner's lamp, thomas and williams, wales, welsh, welsh miners lamp, mining, cambrian lampworks, miners flame safety lamps

The Ebenezer Mission Station is situated by the Wimmera River and was established by Moravian missionaries as the Lake Hindmarsh Aboriginal Reserve in 1859. At its peak more than 100 people lived and worked on the mission in more than 20 buildings. The Mission closed in 1900 and was returned to the Lands Department in 1904. The church was established in the 1870s and the cemetery includes hundreds of unmarked burials. In 1961 the National Trust (Victoria) received a letter from the Horsham Historical Society expressing concern for the future of the Mission buildings. By 1971 the National Trust was managing the site. It was fenced, connected to power and the church was restored. In the mid-1970s the gravestones were in a bad state of repair. Stonemason James McCauley worked on the stones for 2 weeks. In 1991 the church was handed over to the Goolum Goolum Aboriginal Co-operative to manage. On 05 December 2013 the National Trust handed over the freehold of the Mission site. Moravian missionary Revd Paul Bogisch and his wife Amalie are buried in the cemetery. A number of colour digital photographs showing buildings on the former Ebenezer Mission at Antwerp.ebenezer, bogisch, goolum goolum, goolum, national trust, national trust (victoria), lake hindmarsh, lake hindmarsh aboriginal reserve, moravian, mission, missionary

Printed colour postcard titled "City Hall and Shoppers Square Ballarat". Has an inbound tram showing the Grenville St sign on the rear, and one of the crossbench cars loading passengers outside the Town Hall. Shows Snows building, people in the median strip - busy holiday or a Sunday. Images of the front and back of the card and a close-up of the two trams in the bottom left-hand corner. Note the lamp or coloured destination sign on the roof of the inbound tram. On the rear, the postcard has been divided into two with the words "Post Card" and "Printed in Great Britain" on the top, a "Valentine Series" on the side. Addressed to Miss J Johnstone, 30 Weighbridge St, Flemington, and with the words "Dear Jeannie, / How do you like this one. / Maggie". Has a 1d Victorian stamp, cancelled in Melbourne "5" with the date "25-1-05" This is an incorrect date - electric trams did not open until August 1905. 2nd copy unused.Yields information about the intersection of Sturt and Armstrong StreetsPostcard, coloured, divided back - used.trams, tramways, sturt st, esco, town hall, cross bench tram, snows, armstrong st

Noel COUNIHAN (04 Oct 1913 - 05 Jul 1986) This lino cut is the second largest version of Counihan's Laughing Christ series of linocuts from the 1970s. Janet McKenzie in her book 'Noel Counihan' (1986, p. 25) uses Counihan's quote in his description of the Laughing Christ series of art works: "Once again the armies of the Western world were moving against people behind the image of Christ: they were Christian armies. The American and Australian armies in Vietnam had their chaplains with them and were slaughtering Buddhists, as well ironically enough, as Vietnamese Catholics". Counihan's fury at the blood shed and massacre of war behind the image of Jesus is evident in his ironic portrayal of a Laughing Christ. Was this what Jesus was about? Not likely! This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. Description by Dr Susan Paterson Framed linocut, the second large version of the Laughing Christ series. The linocut was commissioned by the Print Council of Australia for members' annual subscription and printed on Japanese paper by William Caulfield & Sons, Melbourne.art, artwork, noel counihan, counihan, printmaking, available, christ, linocut printmaking, print council of australia, workers art guild, social realist, social realism, expressionist artist

NQ/NQR OPEN MEDIUM TRUCKS. 218 of these goods vehicles were built between 1898 and 1914 numbered 1-218. Originally, these wagons carried the code letter R as they were built with sides and ends. Over the years, a number of NQRs were provided with removable wood and steel frameworks with canvas roof canopies and side curtains, and internal seating to supplement the rest of the passenger stock during busy holiday periods. Puffing Billy has re-created these for emergency capacity. Five more NQRs, numbered 219-223, were built between 1990 and 1992 initially for passenger use so were fitted with the removable frames. Vehicle Length 25 feet 2 inches ( 7671 mm) Coupled Length 27 feet 4 inches (8330 mm) Width 6 feet 3 inches (1905 mm) Weight 5 tons Capacity 11 tons Built 1898 - 1915 (1992) Number Built 218 (223) In use 14 To be restored 6 146 NQR - Open medium truck with seats & canopy VR Service History 14/ 9/1910 NWS Built new *NQR 146.VA - 14/ 9/1910 NWS Built new - / /1926 - To NQ 146.VA - NQ 146.VA - /10/1954 - Sold (to) by Stores Branch Puffing Billy Service History or Notes April 2016 - Rubber floor being fitted May 2016 - Repairs to the roof and doorsHistoric - Victorian Railways - Narrow Gauge Rolling Stock - NQR Open Medium Truck with seats & canopy146 NQR - Open medium truck with seats & canopy made of Steel and metal146 NQRpuffing billy railway, pbr, rolling stock, 146 nqr, victorian railways, nqr - open medium truck with seats & canopy

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.A computer generated artwork on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- ) Yorta Yorta/Gunditjmara Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice.Digital print on stretched canvas.josh muir, artist, artwork, aboriginal, hutchinson indigenous fellowship

Josh MUIR (1991- 2022) Yorta Yorta/Gunditjmara/Barkinjl Muir's art draws on hip-hop and street art culture and often depicts the history of indigenous people and European settlers. He spent a lot of time in his teens researching and enjoying public art, especially graffiti. Inspired by the commitment of graffers he was inspired by the concepts they illustrate. He started expressing his own ideas with pen and pad and once the basic concept down and it was tangible and could be converted that to canvas or walls. Muir experimented with spray and stencil work a lot in his teens and later branched out into acrylic paints, paint pens, and digital forms of Art. In 2016 Josh Muir's work 'Still Here', projected onto the front wall of the National Gallery of Victoria was critically acclaimed. At that time he stated: "‘I am a proud Yorta Yorta/ Gunditjmara man, born and living in Ballarat, Victoria. I hold my culture strong to my heart – it gives me a voice and a great sense of my identity. When I look around, I see empires built on aboriginal land. I cannot physically change or shift this, though I can make the most of my culture in a contemporary setting and use my art projects to address current issues of reconciliation." In 2016 Josh Muir was awarded the second recipient of HMS Trust’s Hutchinson Indigenous Fellowship at University of Melbourne, based at the Victorian College of the Arts (VCA). The Fellowship was created to enable Indigenous artists to undertake significant projects of their choice. Computer generated image on canvas.josh muir, aboriginal, artwork, artist, hutchinson indigenous fellowship

Leslie Ernest Shillinglaw was born at Dalmore, Victoria in 1925, the son of Samuel Ernest Shillinglaw and Anna Lucy (Barlow). He was Phillip and Sarah Shillinglaw's grandson. Following his service in the RAAF during World War Two, Leslie married Alva Elizabeth Thomas in 1949. He died in 2007. World War Two Service Veteran Details Name SHILLINGLAW, LESLIE ERNEST Service Royal Australian Air Force Service Number 144902 Date of Birth 03 Aug 1925 Place of Birth DALMORE, VIC Date of Enlistment 30 Sep 1943 Locality on Enlistment HEALESVILLE, VIC Place of Enlistment MELBOURNE, VIC Next of Kin SHILLINGLAW, ERNEST Date of Discharge 01 Apr 1946 Rank Leading Aircraftman Posting at Discharge 36 SQUADRON Prisoner of War No Honours None for displaymarg ball collection, 1943, leslie ernest shillinglaw, second word war, r.a.a.f.

"Best wishes on the eve of his departure for the war from your old tennis mate, Private Robert Harris, No. 2073, 8th Reinforcements, 24th Battalion" Private Robert Jubilee Harris, printer of Kangaroo Ground, on the far right, was the son of Robert Charles Harris, printer and former editor of the Evelyn Observer which preceded the Advertiser. He embarked at Melbourne 26 August 1915 bound for Gallipoli and was killed in France, 19 July 1916. https://www.awm.gov.au/collection/P10238019 In the middle is his Uncle, Shelley Harris who later in life was the Ranger at Kinglake National Park 1936 'LIFE OF SERVICE', Advertiser (Hurstbridge, Vic. : 1922 - 1939), 19 June, p. 3. , viewed 03 Oct 2018, http://nla.gov.au/nla.news-article56842659 His brother Charlie Harris is on the far left. Their sister was Mrs H. Thomson.Digital file only - scanned by EDHS from item on loan aif, charles (charlie) thomas harris, charles thomas harris, charlie harris, first world war, honour roll, kangaroo ground, letters, lew howard collection, robert jubilee harris, shelley harris, william shelley harris, ww1

During World War II the Japanese attacked New Britain soon after the outbreak of hostilities in the Pacific Ocean. During January 1942, Japanese heavily bombed Rabaul. On 23 January, Japanese marines landed by the thousands, starting the Battle of Rabaul. The Japanese used Rabaul as a heavy base until 1944; it served as the key point for the failed invasion of Port Moresby (May to November, 1942) Note: these photos are incorrectly labelled as Nth. Britain Photograph of "OIRE LUNG " airfield is in fact "WUNUNG, JACQUINOT BAY, NEW BRITAIN, 1945-08-28. A FULL PARADE OF 37/52 INFANTRY BATTALION AND 29/46 INFANTRY BATTALION, BOTH OF 4 BRIGADE, WAS HELD ON WUNUNG AIRSTRIP. THIS PARADE WAS TO PREPARE TROOPS FOR A PARADE TO BE HELD ON 1945-09-03. SHOWN, 37/52 INFANTRY BATTALION PRESENTING ARMS." Airstrip was maintained by 1 ACSPhoto Album 360 Pocket "Photo Safe" divided for cataloguing purposes into 4 sections. Section 1 Recent Colour Photos of RSL and commemoration services Section 2 Black and white photos of earlier commemoration services, Section 3 WWII photos mainly of New Britain 1945, Section 4 Early photos of Memorabilia display.new britain, wwii, japanese surrender, pow, rms aquitania, ss nieuw amsterdam, rms mauritania, rabaul, wunung airfield, jaquinot bay, 1 acs

Maurice Fabbro and his mother Regina (wife of Guido) taken at home in Falkiner Street, Eltham. Regina passed away 21/03/1986 age 92 and is buried at Eltham Cemetery. (source: http://www.elthamcemetery.com/index.php/deceased-search) The site of the Fabbro farm (Diamond Creek side land) is now called Barrack Bushlands. It is doubtful that Fabbro's farm holding was ever called Barrak Park, This title is fairly recent after the Shire of Eltham purchased the land, including the last section in 1993/94. About this time the area on the west side of Falkiner Street was purchased by a private developer and developed as housing. The area in Bell Street opposite the Eltham High School was purchased by the State Government is recent years and is called Fabbro Fields. The Fabbro Family operated their farm in Bell Street, Eltham. Eltham, Falkiner Street, Maurice Fabbro, Regina Fabbro1 colour photographfabbro's farm, bell street, eltham, maurice fabbro, regina fabbro

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Property is included the City of Glen Eira's Amendment C190glen as HO177 Ida Villa. As of 18/03/2021, Amendment C190 is noted as "Approval Under Consideration" by the Minister of Planning.Page 147 of Photograph Album with one landscape photograph of a Victorian brick house on Neerim Road.Handwritten: Neerim Road [top left] / 234 [under photo] / 147 [bottom left]trevor hart, neerim road, arched windows, verandah, porch, decorative brackets, bull nosed verandah, cast iron columns, ross land sales, ross, carnegie, victorian style, cast iron work, polychrome bricks, brick houses, tessellated tiled deck, ida villa

The earthquake at Napier, also known as the Hawke's Bay Earthquake, took place on 03 February 1931 at about 10.45 am. There was no warning before the ground started to heave and roll in waves. It was not possible to stand without support, and the violent motion caused stone and brick buildings to collapse into the streets causing death and injury to hundreds who were going about there daily business. Fires started almost immediately, and with the water mains shattered, the fire fighters were powerless to stop or prevent the spread of the flames. Within twelve hours the greater part of the business area of Napier and its port was totally destroyed. As a result of the pressure which caused the upheaval, the levels of the town and the surrounding district have been altered. The town and the harbour were raised from five to seven feet, and many parts of the inner harbour became dry land. Small booklet of 18 pages with photographic comparisons of New Zealand's Napier region before and after the 1931 earthquake.napier, new zealand, earthquake, lovell-smith, stedman, boston, port ahururu, westshore, clive square, hawke's bay

Private James Argent (318), served with the No. 8 Platoon, B. Company, 21st Battalion, 6th Brigade, 2nd Division. He was born in Yandoit, and was a 24 year old labourer when her enlised for service at Kingston on 20 April 2015 during World War One. HIs next of kin was his wife Harriett Argent of Kooroocheang, Victoria. He was wounded in Acton at France on 04 July 1914, and had shell shock for the second occation on 03 August 1916. On 22 August 1916 he embarked on the "Denis" for England suffering from Shell Shock. He was transefered permanently to Base in England on 18 June 1917. He was admitted to hospital with VD on 21 August 1917 (63 days), and sailed for Austrlalia on 30 January 1918 with Neurasthenia. (NAA: B2455, ARGENT J)Photographic portrait of Mrs Argent, and her son James Argent in his World World One AIF uniform. j. argent, world war one, 21st battalion, yandoit, kooroocheang, james argent, harriett argent, uniform, jim argent

Ray WOOLARD (1951-03/2024) Born Ballarat, Victoria Ray Woolard studied at the Ballarat Junior Technical School (c1967); Diploma of Art (Sculpture) at the Ballarat School of Mines/Ballarat Institute of Advanced Education from 1969-1972; a Secondary Art and Craft course at the Ballarat Teachers College c1973; and then the Victorian College of the Arts (Melbourne) 1974-75. He was studying at Ballarat Teachers' College when he completed 'Moose in High Healed Sneakers'. It became a greatly loved artwork on the Gillies Street Campus, and was moved the Mount Helen Campus in 1976 when the Ballarat Teachers' College became part of the Ballarat College of Advanced Education. As an artist Ray Woolard worked within the fields of painting, carpentry and sculpture. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Ballarat Teachers' College CollectionA caste aluminium sculpture of a moose in resin high heeled sneakers. art, artwork, moose, ballarat teachers' college, sculpture, alumni, ray woolard

Private James Argent (318), served with the No. 8 Platoon, B. Company, 21st Battalion, 6th Brigade, 2nd Division. He was born in Yandoit, and was a 24 year old labourer when he enlisted for service at Kingston on 20 April 2015 during World War One. His next of kin was his wife Harriett Argent of Kooroocheang, Victoria. He was wounded in Acton at France on 04 July 1914, and had shell shock for the second occasion on 03 August 1916. On 22 August 1916 he embarked on the "Denis" for England suffering from Shell Shock. He was transferred permanently to Base in England on 18 June 1917. He was admitted to hospital with VD on 21 August 1917 (63 days), and sailed for Australia on 30 January 1918 with Neurasthenia. (NAA: B2455, ARGENT J)Photographic portrait of James Argent in his World World One AIF uniform. j. argent, world war one, 21st battalion, yandoit, kooroocheang, james argent, harriett argent, uniform, aif

Harold Bertie Chatfield No 401493 enlisted in the RAAF on 28.2.1941 age 20 years. Embarked for for Southern Rhodesia for training with No 26 Flying Elementary Training School. Promoted T/Sgt - Airman Pilot 28.2.42, embark for England for more training 9.4.42, 16.6.43 posted on strength of the RAF, promoted Flt Sgt 19.7.43, posted in Burma with 615 Sqd RAF flying Spitfires 16.10.43, hospital 2.1.44 for 3 months, promoted to Flying Officer 30.12.44, discharged from the Airforce at RAF Station Poona 14.12.45. In 2016/17 a recommendation was put forward for Chatfield to be awarded the DFM (Distinguished Flying Medal) relating to 2 actions in Burma. This was downgraded to a Commendation for Gallantry. Refer 196.2, 197, 2331.Copy of B & W photo of Harold Bertie Chatfield, RAAF, in uniform, wings & ribbons. Photo is in plastic stand."To my little Heather". The rest is unreadable.photography - photographs, raaf

21 NBHC built as 21 NBH. It was converted by the addition of a Guard's Van compartment and modified for Wheelchairs access by Puffing Billy Railway and re classed & numbered 21NBHC Puffing Billy Service History or Notes Between 1997 and 1998 the Puffing Billy railway built six more NBHs, numbered 18-23. These had steel frames, padded seats, and a wide "window sill". At first glance they look the same as the previous NBHs. There are other minor construction differences due to the use of steel framing. 21NBH entered traffic in 1998. The photo on the right shows the exterior of one such NBH. These have a seating capacity of 24 passengers. April 2016 - In for a lift, roller bearings replaced with standard bearings Historic - Puffing Billy Railway Narrow Gauge - Passenger Rolling Stock: Excursion Car 21 NBH which has been converted by the addition of a Guard's Van compartment and modified for Wheelchairs access by Puffing Billy Railway and re classed & numbered 21NBHC21 NBHC Passenger Carriage - Excursion Car - specially modified for Wheelchair access allowing it to carry wheelchairs and to have a Guard's Van compartment. made of wrought iron and timber21NBHCpuffing billy, pbr, rolling stock, 21 nbhc

The gouache was presented to Cr Jill O'Brien, Mayor of Kew in 1983-4, who was instrumental in the purchase of the window. The same Kewriosity article, referred to in the physical description, states that the window was originally commissioned from the artist by a Kew timber merchant, and following ownership by successive owners found its way back to Kew. The framed photograph is part of the Jill O'Brien collection which was gifted to the Kew Historical Society following her death in July 2016. The collection includes important primary sources relating to a number of areas in which Jill O'Brien made a significant contribution including the establishment of the Villa Alba Museum, local government, the Kew Historical Society, the Yarra Bend Trust, and the arts.Framed gouache on paper of the design by the artist Alan Sumner for his window, The Four Seasons. The window, now in Kew Library was purchased to commemorate Kew's 125th Anniversary. An article in a contemporary issue of Kewriosity states: The window is approximately three metres in diameter and divided into one central and four outer panels. Clockwise from the top is Autumn with sinuous lines in yellow and brown, then winter in cool blues and mauves with lines and circles suggesting rain, snow and hail. Spring follows in the bottom left quadrant with organic ovaloid shapes richly coloured and lines evoking growth. Then to the top where summer explodes with the colours of fire and blue of the sky at the height of summer. The centre panel has a powerful image of sun, moon and stars which links the surrounding panels".jill o’brien, public art - kew (vic), stained glass - kew (vic), alan sumner - the four seasons, kew library, public art

Attunga Ski Lodge was built by Bob and Noelene Lee in 1968. They had managed club and commercial lodges, including Ripparoo, throughout the early 60s before building their own premises. Three generations of the family have lived and worked in Falls Creek. As stated in this brochure, Attunga derives from the aboriginal word meaning High Place. Attunga was the first lodge in Falls Creek to have en suite rooms. It has continued to be a family-run and focused business, being purchased in 2016 by the Wruck family. Bob and Noelene Lee's son, Steven, became a three-time Olympian (in 1984, 1988 and 1992) and a World Cup winner. Noelene Lee is a Life Member of the Falls Creek Race Club.This flyer is significant because it documents the early origins of a highly regarded family business at Falls Creek.A flyer printed in blue text on light card. The front cover features an image of the Attunga Ski Lodge and two skiers in the foreground with text. Other sections explain the origin of the name "Attunga" meaning "high place" and features that are of high quality at Attunga, winter and summer activities, transport and the tariffs for 1973,On front: ATTUNGA SKI LODGE Bob & Noelene Lee .... invites you to have the fun of your life. Arlberg Street, Falls Creek, Victoria, 3699 Phone: Falls Creek - 583255 attunga ski lodge, accommodation falls creek, bob and noelene lee

"Who would have thought that a boy born in 1889 from the Victorian Mallee would become a successful artist on New York’s Staten Island? This finely illustrated, exhaustively researched and beautifully written biography on Leason features the artist’s entire career as a painter and cartoonist renowned for his depictions of Australian society in the 1920s and 1930s. Leason’s story is a poignant one tracing his beginnings as a cartoonist, to the bohemian Melbourne art scene in the early 20th century, to his involvement in the artists’ camps of Eltham, to his important series of portraits of Lake Tyers Indigenous Australians, and his eventual move to the US where he has been acknowledged as making an enormous contribution to the New York arts scene. This story, as yet untold, fills a gap in the history of art in Australia and offers a new perspective on Australian art in the first half of the 20th century." - Thames and Hudson website A NEW HOME IN ELTHAM Once they had settled back into Melbourne, Perry and Belle began to look for a place to make a permanent home. Having enjoyed the bush setting of Mosman, they decided to explore the rural fringes of Melbourne. Each weekend they packed a picnic and travelled to the towns in the nearby hills - such as Ferntree Gully, Sassafras, Lilydale and, of course, Cockatoo Creek. Eventually deciding these places might be a little too far from The Herald office, they searched closer to the city. The Heidelberg and Box Hill regions that had inspired his old teacher McCubbin, had become busy, urban areas but further east, towards Warrandyte and Templestowe, there were still large tracts of bush. Finally they settled on Eltham, an area Percy knew very well, having often painted there with Jock Frater. Perry's old friend Dick McCann and his wife Margery had also settled in Eltham. The township was fifteen miles from Melbourne and serviced by an electric train that went to the central Melbourne station of Flinders Street, near where The Herald offices were located. Eltham was a small village in 1925, separated from Melbourne by the Yarra River, and surrounded by orchards and large tracts of bush. Small farms dotted the landscape and the main businesses revolved around ironmongers, blacksmiths, and farming supplies. Of particular appeal to artists was Eltham Park, a large expanse of bushland bounded by the Yarra River on the south side and the Diamond Creek on the east. The park included a playing field that was busy on weekends with cricket or football matches, but for the rest of the week it was mostly empty and an ideal place to paint. The scenery there provided the inspiration for many paintings by Leason, Meldrum and other artists such as Colin Colahan and Peter (A.E.) Newburv. The Leasons found a rundown old farmhouse on four-and-a-half acres of land in New Street, now known as Lavender Park Road. The site was splendid, at the top of a gentle slope which gave panoramic views east to the Dandenong hills, south over the Templestowe orchards and north to Kinglake. The front lawn was taken over by onion grass (or wiregrass as Leason called it) and scattered about the property were many wattles and gum trees. Aloe cacti covered much to the front of the house, while old quince and lucerne hedges separated the house and out-buildings from a rundown apple orchard. Here they would build a new home. ·with financial assistance from The Herald, Leason bought the property and immediately commissioned an architectural firm to design a new house in the popular bungalow style of the time. The old farm house was demolished but Percy saved the siding boards, bricks and corrugated iron for the outbuildings of his new home. The new house was a two storey, triple brick with a large, gabled, terracotta tiled roof. It was situated at the very top of the slope. The paint and varnish were barely dry when the family moved in during the summer of 1925-26 and the fumes were overpowering in the heat. Despite the house being wired for electricity, power poles had not yet reached the area and initially the family had to rely on kerosene lamps and candles. When electricity did arrive, Leason reflected on the community's reception of electricity at the expense of the old growth gum tree corridors in his cartoon, Electricity comes to Wiregrass. The family had now grown to seven. Jack was nearly nine, Jean was seven, Marjory was four, Nancy was two and the baby Patricia was seven months old. Jack and Jean were enrolled in the local primary school down the hill. A retired farmer, Jock McMillan, came to live on the property and help out with the general maintenance. Jock built himself a shack and Belle provided him with meals. He was kept occupied building structures around the property·, such as the garage, the outside toilet, garden beds, trellis arbours and a number of ponds. The elderly, bearded Scotsman with his old hat and baggy pants also provided the inspiration for one of the characters Leason regularly included in his cartoons. Like Leason, Jock smoked a straight stemmed pipe. A neighbour was employed to help Belle with domestic chores, and so the family settled down to live comfortably in their new Eltham house. Two dogs, Maginary and Wodger, completed the large and vibrant household. “Percy Leason; an artist’s life” by Margot Tasca, Thames & Hudson Australia Pty Ltd, Port Melbourne 2016, pp 63-64 Hardback Bookpercy leason, margot tasca, biography, artist, landscape

Book, 80 pages, gloss art paper, in black ink with a yellow card cover in green ink, centre stapled, titled "The Bendigo Tramways" Details history of Bendigo tramways, its tramcars and the involvement of the various operators. Has maps and photographs. Written by Keith Kings and published by the Victorian Division of the Australian Railway Historical Society and others at the time of the closure of the Bendigo system. Has details of the various organisations that published the book on the rear cover. Cover, index page, maps and rollingstock lists have been scanned see jpg images i1 to i7 For book itself see pdf images i1 to i4 326.1 - ditto - purchased by W.A. Doubleday for BTM ex Scottsbluff, NE, USA 8/2003. Added 27/09/03. See Reg Item 4242 for other copies of this book which has pencil annotations.trams, tramways, bendigo, battery trams, steam trams, history

See also Item 710 AS Box 04 - Microfilm of article. A photocopy mounted on hard board, of the front page of the Ballarat Courier of 30-7-1971, featuring the story of a Ballarat tram driver being hijacked on the Mt Pleasant route and the driver being tied up after travelling along the route. Film strip includes photograph of the order form and order cover - see item No. 710 for a microfilm of the newspaper article. Concerns the tram hijack With item in folder 01-01-04 is a set of copies of the item. In box 01-03-60 is the item used in the CHHA Law & Order Exhibition 10/1997. (710.1) Sheet glued onto large cardboard sheet with Velcro dots on rear. Photos: 710i1 - scan from actual negative 710.2 - items from SLV on rear of 710.1 710.3 - A4 photocopies 710.4 - Large item glued to sheet.trams, tramways, ballarat, tram drivers, hijacks, mt pleasant