A community-led project to contribute to a vision for the Shire of Nillumbik. Between October 2011 and June 2012, Nillumbik Shire Council undertook a community information gathering project to ask residents "what is your vision for your local community?” Picture Nillumbik represents a collection of responses from community groups, schools and households via online submissions, photos, interviews and workshop contributions. The resulting document provides a snapshot of the values, ambitions and resilience of Nillumbik communities. The project aimed to inform community planning and identify how Council can work better with residents. The resulting document provides a snapshot of the values, ambitions and resilience of Nillumbik communities. Aimed to inform community planning and identify how Council can work better with residents. Further that the document be inspiring, stimulating and a reminder that the future is worth planning for. Includes a number of case studies of local organisations and projects including: Christmas Hills - Butterfly Studios, Strathewen Tree Project, St Andrews mosaic seat, Eltham & District Woodworkers Inc., Edendale Farm - Home harvest, Hurstbridge, Bend of Islands, Bendigo bank, Dunmoochin - Cottles Bridge, Artists Open Studios Program, World Matters and Past Matters, Nillumbik Reconciliation Group, Boots for all. Chapters include: Deep connection and resilient community, local village life, Balance with nature, a sustaining and evolving economy, creative expression, art and cultural exchange, experience discovery and fulfilment and stewarding the Nillumbik way. Each chapter includes further questions for discussion.Spiral bound document printed in landscape format. Includes text and colour photographs. 196 pagesSmall piece of paper headed "DRAFT" included at the front of the document when bound.shire of nillumbik, planning, future, christmas hills, strathewen tree project, st andrews, eltham & district woodworkers inc., edendale farm, bend of islands, dunmoochin, artists open studios program, nillumbik reconciliation group, community groups, vision, strategy

Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape

The parade was held in celebration of King Edward VII's birthday on 4 July 1902. This was the first public appearance of the German Band formed on 30 May 1902. The leading horseman is Mr Rowland Coe. He is followed by Mr George Robinson, a butcher of Canterbury Road. The man in the white hat is Mr Sam Kellett, businessman of Erasmus Street. Behind him on foot and partly obscured is Mr Alexander McNeill of the Surrey Family Hotel. Band master is Harry Pollard, painter and paper-hanger, and next to him is Constable Hill. The small boy in the sailor suit is Perc Venman of Essex Road and in the buggy near the footpath is Mr and Mrs William Maling. Information came from David Staig senior. Further research: William Saunders Maling, a son of John Butler Maling, was a builder who lived at 17 Balwyn Road, Canterbury. Rowland Coe, a butcher and son of James and Elizabeth Coe of Sunbury Crescent enlisted in AIF in WW1. He later lived at 233 Elgar Road, Box Hill. William Percival Reginald (Perc) Venman was born in Surrey Hills in 1894; he died in Surrey Hills in 1951 and lived at 27 Essex Street for much of his life. He and his wife are buried in Box Hill Cemetery. The identity of Sam Kellett of Erasmus Street is questioned. Edward Kellett built 'Yielma' in Erasmus Street but was deceased by 1902. He had 3 sons: Edward Allan (1854-1932); George Henry (1858-1921) and William John (1865-1945).Black and white photo of a number of men on horses leading a parade down Station Street (Windsor Crescent) to Union Road. Street trees on the RHS are mature whilst the ones on the LHS look to be newly planted. They have wooden guards around them. The area to the left is blurry but would be the railway line and station surrounds. Roads are well formed with bluestone channels.parades and processions, bands, german band, windsor crescent, william saunders maling, mrs hannah maling, miss hannah miller, constable hill, perc venman, george robinson, sam kellett, alexander mcneill, rowland coe, harry pollard, william percival reginald venman

documents for Maiden Gully Sewerage SchemeMichele Matthews collection - paperwork and reports for re-zoning of Maiden Gully (1993 - 1996). Residents opposed the re-zoning as they had purchased land as "bush blocks" Coliban water Annual report 1993/94 21/12/1994 Maiden Gully Development Committee - newsletter No 1 - cttee met with representatives of Coliban Water Caliban Water information Bulletin January 1995 - Maiden Gully Sewerage Scheme 22/02/1995 Maiden Gully Development Committee - newsletter No 2 - cttee activities re the planned sewerage scheme 27/03/1995 - Coliban Water letter to WR & MS Matthews, owners 3 Clay Gully Court (Lot 56 LP 212245) undated - Maiden Gully Neighborhood Sewerage Schemes - Robin Hill Estate Scheme (cost allocation to property owners 21/04/1995 five-page letter of objection/complaint from WR & MS Matthews, owners 3 Clay Gully Court, re costs allocated against their property (Lot 56 LP 212245) 16/06/1995 five-page response from Coliban Water to WR & MS Matthews, owners 3 Clay Gully Court; regarding the outcome of their objection to the sewerage scheme 22/08/1995 letter from WR & MS Matthews, to resident re the results of their objections (and consequent concessions) from Coliban Water re the Robin Hill Estate Sept 1995 Maiden Gully Structure Plan, prepared by TEA planners & Planning Australia Consultants; provides a structure plan, for the Rural City of Marong, the propose future development of the Maiden Gully area Greater Bendigo Planning Scheme - Amendment L43 - Maiden Gully Township: * undated and author unstated - Maiden Gully questions sheet for residents re the proposed Maiden Gully Structure Plan - seven questions and answers * Fauna species - observed /recorded site 6; Maiden Gully (off Pioneer drive) * Explanatory report, three pages * 1/11/1995 Notice of Amendment to a Planning Scheme * Greater Bendigo Planning Scheme, Chapter 6, Amendment L43 (five pages) December 1995 Coliban Water "In the Pipe line", Maiden Gully Region Community Newsletter No 2 - Halfway mark for Sewerage Scheme March 1996 Coliban Water "In the Pipe line", Maiden Gully Region Community Newsletter No 3 - Home stretch for new sewer scheme May 1996 Coliban Water "In the Pipe line", Maiden Gully Region Community Newsletter No 4 - New sewerage scheme comes in well under budget Undated - Maiden Gully Township - Amendment L43 - Panel Hearing report (31 pages) maiden gully, sewerage scheme

James Jones was the son of Philip Jones, a Chairmaker, and Ann Jones who settled in East Brighton after the sale of land c1852 in the area of the Henry Dendy Special Survey of 1841. Mary Ann Moore was the daughter of Thomas Moore, a Gardener, and Sarah Harris who also settled in Brighton c1852. James and Mary Ann Jones settled and raised their family in East Brighton now Bentleigh. Mr John Herron resided at 4 Vickery St Bentleigh until 1989. Sadly Martha Jones born 1888 died in 1890 and James Jones had to purchase a plot at Brighton General Cemetery for her burial. Baby Ethel May was interred in 1893 and then Mary Ann in 1903 and James in 1940. Their stillborn baby was buried in the Wesleyan public grave in 1900James Jones and Mary Ann Moore were born in Brighton c1857 and c 1859 into pioneer market gardener families in the area of the Dendy Special Survey of 1841. They married in 1883 and raised their family in East Brighton, now Bentleigh. Sadly infectious diseases took the lives of many infants throughout the Colony of Victoria due to the poor state of water supply and sewerage disposal and locally the swamps of the Elster Creek were a constant breeding ground. Martha Jones born 1888 died 1890 and was interred in Brighton General Cemetery in a family plot purchased by her father James Jones. In 1893 another daughter Ethel May died and was buried in the family plot. A stillborn baby was interred in the public grave of Brighton General Cemetery in May1900. Mary Ann Jones died at age 43years and was interred in January 19033 Original documents associated with the death of Mary Ann Jones 18th January 1903. 1) An original paper receipt No. 4797 for payment on 19th January 1903 by James Jones to Brighton General Cemetery of £1 . 1s for the burial of Mary Ann Jones in a plot 4 feet x 8 feet, in the Wesleyan section portion 199 compartment G. 2 ) An original part- section of Form of Notification of Death from The Alfred Hospital Prahran with personal particulars and burial details , signed by the Undertaker. 3) An original Mourning Card 1) BRIGHTON GENERAL CEMETERY / 4797 ( stamped) / 19th Jan. 1903 (hand written) / Received from “Mr James Jones”(hand written) / the sum of £1 . 1s being the following / charges in Wesleyan (hand written) / Portion No, 199 compt.G Name of / Deceased ‘Mary Ann Jones”(hand written) / For re-opening grave interment ‘third’ £1 . 1s./ signed by S. P. Simmonds Secretary. 2) ‘Brighton’ (written over Melbourne) GENERAL CEMETERY FORM OF… / No. of Order____ Date of… / PARTICULARS / Signature of Undertaker J H Lear On back of notice are guides to the questions 3) In Loving Remembrance of / Mary Ann Jones / Dearly Loved Wife of James Jones / Died January 18th 1903 / Aged 43 Years / Poem - “One Less at Home “ / DEEPLY REGRETTED / Art Engraving Company, Royal Arcade, Elizabeth Street, Melbourne * wesleyan church, brighton general cemetery, vaccination, pioneers, early settlers, typhoid, brighton, moorabbin, bentleigh, market gardeners, jones james, jones mary ann, jones martha, dendy henry, dendys special survey 1841, infectious diseases, water supply, elster creek, melbourne, orford g h, printers, southern cross office, “brighton leader” print, bay street brighton, jones ethel may, public grave brighton

The Ballarat Observatory is situated at Mount Pleasant.Correspondence relating the the Ballarat Observatory. .1) Robert J. Strange, Secretary of the Ballaarat Astronomical Society, writes to E.J. Barker (Principal, Ballarat School of Mines) regarding ownership of telescopes. .2) E.J. Barker (Principal, Ballarat School of Mines) writes to Bert Strange concerning ownership of telescopes .3) Bert Strange writes to Jack Barker with details of the telescopes, including references to James Oddie. The telescopes in question were three Newtonian reflectors, one Cassegrainian focus reflector and one "Calver" telescope on altazimuth mounting. .4) Former Ballarat School of Mines Principal, Dick Richards, writes to Jack Barker regarding the telescopes. Mention is made of John Brittain's ten inch mirror on a metal tube, stored on the penthouse on the roof of the Art School. .5) Ballarat School of Mines librarian, Heather Durant, writes to Jack Barker . .6) Simple timeline relating to the Ballarat School of Mines .7) Extracts for the Ballarat School of Mines Annual Reports relating to the Ballarat Observatory, the James Oddie donation, and the transfer of the Observatory to the Ballarat East Town Council. 8)Two quarto typed pages from Jack Barker to Bert Strange outlining the research undertaken to report that the telescopes were not in the possession of the Ballarat School of Mines. ballarat school of mines, jack barker, e.j. barker, ballarat observatory, bert strange, robert f. strange, telescopes, dick richards, r.w. richards, heather durant, mount pleasant, mt pleasant

Set of four colour prints of an Ex Victorian Railways bogie tram body at Sloan NSW. Photo by Norm Cross, printed on AGFA paper. Photo dated 1/1/1994. Advised by Tony Smith - 29/3/2017 "The tram in question is VR 39. It was one of the last 4 trams disposed of from Elwood depot in 1959 after the system closed. They were purchased complete by Upton's machinery dealers of Corowa. The other cars were 29, 33 & 37. He then stripped them and sold the bodies. When we obtained VR 41 in 1977 we immediately went searching for other bodies that might yield parts to help in rebuilding 41. We located 37 on the outskirts of Wangaratta and it yielded many body items including a complete drivers bulkhead that was used to replace the one in VR 41 that had been cut out with an axle by the previous owner. You may also recall that we obtained 3 complete broad gauge 77e trucks from Upton's (they had cut up the other 5 bogies years previous). These 77E trucks are now under the Christchurch Brill tram with the 3rd as a spare as we were able to obtain standard gauge 77e's when we acquired L 105 for dismantling."Each photo has written in ink on the rear "Body of VR tram # @ Sloan NSW 1 Jan 1994, photo by Norm Cross".trams, tramways, vr trams, sale of trams, scrapped trams, tram 39

One page document 'Extract from Dickers Mining Record, Strength of ropes Vol.1, No. 5, March 1862, page 3, 'Square the circumference in inches, and multiply by 200. The product is the weight in pounds the rope will bear in safety' Also, 'A question of some importance to miners'. A co-operative company had agreed that every shareholder working in the mine of the Great Redan Extended Coy shall bring two suits of clothes before he be allowed to work in the mine and shall proceed to the shifting room allotted to him and then shall put on his working clothes and on leaving work shall proceed to the shanty, and there change his clothes, and permit the officer appointed by the company to search the clothes in which he shall have worked. Any person not complying with this rule shall have a man work in his place and such person shall not be allowed to go down below. The wages of the man shall be deducted from the dividends of the shareholder. When taken to court, his Honor ruled in Favour of the company. Each party to pay his own costs. He said that all classes when going through the Custon's Houses had to submit for the general good. It was not the individual in the present issue, but the clothes that were submitted to the indignity of being searched.bendigo, mining, strength of mining ropes

Ruby Lonie was Senior Clerk of the Ballarat School of Mines (SMB) Administrative Staff. Always known as Miss Lonie, her sole position was at SMB where she worked between May 1914 and May 1960. When the SMB Registrar, John Robinson, died in 1935 the question of who would fill the position became a matter of urgency. The temporary answer was Miss Lonie, who was the senior clerk on the Registrar's staff. The permanent position was looked upon as an exclusively male preserve. At Miss Lonie's retirement function SMB President, M.B. John, noted that Miss Lonie had joined the staff in 1914 and had 'done a tremendous job since that time, and for many years had been the Registrar's "Right Hand Man". Twenty Four years after having acted as Registrar the current SMB Registrar, F.F.Ferguson recognised Miss Lonie's assistance and her extensive knowledge of the history and the administrative procedures of the School. He added 'I have noted on many occasions Miss Lonie's kindly interest in people in times of sickness or difficulty and her willingness to help.' Current and former staff members were keen to acknowledge Miss Lonie. Former Principal Dick Richards said 'That Miss Lonie had been in this one job all her life is a great tribute to the school, and the Council is conscious of her devoted service.' The Principal, Mr Arblaster, on behalf of himself and the staff presented Miss Lonie with a gold watch and wished her well in her retirement. The next day Miss Lonie, along with Hestor Darby, the SMB Typewriting teacher who was on long service leave, sailed from Melbourne for London, mainly to visit Scotland.A black and white photo of a woman, Ruby Lonieruby lonie, ballarat school of mines, women, university women

Ruby Lonie was Senior Clerk of the Ballarat School of Mines (SMB) Administrative Staff. Always known as Miss Lonie, her sole position was at SMB where she worked between May 1914 and May 1960. When the SMB Registrar, John Robinson, died in 1935 the question of who would fill the position became a matter of urgency. The temporary answer was Miss Lonie, who was the senior clerk on the Registrar's staff. The permanent position was looked upon as an exclusively male preserve. At Miss Lonie's retirement function SMB President, M.B. John, noted that Miss Lonie had joined the staff in 1914 and had 'done a tremendous job since that time, and for many years had been the Registrar's "Right Hand Man". Twenty Four years after having acted as Registrar the current SMB Registrar, F.F.Ferguson recognised Miss Lonie's assistance and her extensive knowledge of the history and the administrative procedures of the School. He added 'I have noted on many occasions Miss Lonie's kindly interest in people in times of sickness or difficulty and her willingness to help.' Current and former staff members were keen to acknowledge Miss Lonie. Former Principal Dick Richards said 'That Miss Lonie had been in this one job all her life is a great tribute to the school, and the Council is conscious of her devoted service.' The Principal, Mr Arblaster, on behalf of himself and the staff presented Miss Lonie with a gold watch and wished her well in her retirement. The next day Miss Lonie, along with Hestor Darby, the SMB Typewriting teacher who was on long service leave, sailed from Melbourne for London, mainly to visit Scotland.A black and white photo of a woman, Ruby Lonieruby lonie, ballarat school of mines, women, university women

Martin KING (1957 - ) Born Melbourne This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. 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.Framed limited edition print Editioned lls '2/36' Signed lrs 'King'artist, artwork, printmaking, parallel prints, martin king

Dr Lisa ANDERSON (1958- ) Dr Anderson’s research questions environmental issues that impact on the social structures of communities and their mapped or metaphysical borders. She develops projects around ways of understanding the effects of climate change. These include work with folklore, legends and religions that tell stories of coping with weather, forced migration of animals and people and coping with difference. She has undertaken international residency programs and exhibitions in the Arctic, Iceland, Paris, Norway, London and China, and she was the first Artist in Residence at the Australian Museum. These unique opportunities continue an extensive art practice of installation work, video, photography and sculpture. Anderson has an extensive record of exhibitions in Australia and overseas with work included in both private and corporate collections. Her exhibitions include Journeys: Due North, a large installation work that includes work created over a 10-year period of engagement in expedition and science work North of the Arctic Circle. Beneath the Beauty of Architecture, an exhibition at her London Gallery, Bicha, used images created in China, Nunuvut Territory in Canada and the Antarctic while working with the migration stories of survival. Dr Anderson has created many large scale artworks that challenge notions of occupation of the City, including Writing the City, a three-year program of installation works to shift the use of Sydney to being a city of public space in its pre-Olympic development. Singing up Stones celebrated the people who created and use the Opera House and the Quay for performance and ideas. This included the first image projection onto the Sydney Opera House, a projection onto the Sydney Harbour Bridge and a ballet of cruise liners with the sound simulcast on the local radio station. Two digital prints with acrylic on metal and bullet holes. This work is the result of research on the hidden voice of landscape undertaken by Dr Lisa Anderson while an Honorary Professor at Federation University Australia. lisa anderson, available

Until 1960 there were no telephones in Falls Creek. The only access to a phone was at Rocky Valley Camp where the State Electricity Commission (SEC) had an extensive network to Mount Beauty, Bogong and the other camps such as Clover power station and Howman's Gap. There were test points with a phone beside the road where contact could be made to the office in Mount Beauty. The SEC was unconcerned about Falls Creek, so no power was connected until 1960 when Tom Mitchell aired the matter in parliament. Tom was a keen skier. He applied to the Post Master General who was then responsible for telephones as well as mail. The PMG staff came up from Bright and installed an exchange in Diana Lodge. There were only about 15 lines to a post across the road uphill about 20 metres. It was from here that you could put a line from the building into a box where connections were possible. You had to buy a cable from the disposal store. It needed to have an alloy of copper and steel in the wire similar to what the army had used during the war. If the phone failed the owner would have to find the break in the wire, not an easy task in the heavy snow. Then came the telephone itself. Falls Creek was given old-fashioned sets with a hand wound magneto to ring the bell at the exchange. When the operator answered she could then plug a line into another phone line or the exchange in Bright. In the phone were two dry cell batteries that carried the spoken word to the other phone connected. Trunk lines were expensive then, so each trunk call was timed by the minute. The operator would disconnect you after a minute if you did not reply to her question "are you extending?". These telephones were donated by Julian Newton Brown. Julian's Lodge Arundel was known as Falls Creek 11.These telephones are significant because they illustrate the earliest form of technology available to connect Falls Creek Village to other areas.Telephones constructed of polished wood, brass bell, handles and cabling. Designed to operate through a telephone exchange. They operated on two dry cell batteries.Attached to front of telephone: Instructions on how to make or receive a call.falls creek village, falls creek communicaton

The two-door nineteenth century cabinet was purpose built with a curved back to fit the proportions of the lantern room interior and is likely to date from 1888-89 when the new lighthouse was fitted out and provided with furnishings and fixtures. The Public Works Department provided a range of lightstation furnishings including office desks and cabinets, and domestic settings for keepers’ quarters, with nineteenth century items often stamped with a crown motif and the PWD monogram. The curved cabinets installed in lantern rooms however do not appear to display this small feature. The cabinet needed to be custom made to fit the proportions of the room, and for this reason it was possibly made on site or perhaps even supplied by Chance Bros as part of the entire lantern room installation. The company usually provided timber panelling for their lantern room interiors (since removed from Point Hicks), and a cabinet may have been included in the assemblage. It may not have originally been painted; today doors area grey/silver colour and the rest of the cabinet is emerald green. It is not known whether it is freestanding or fixed to the wall. A similar cabinet with panelled doors remains in the Gabo Island lighthouse and evidence of green paint on the wood indicates that the cabinet frame was also formerly painted green but later stripped to reveal the wood finish. The Cape Nelson lantern room has a curved cabinet with the same door type but has a drawer above each door. It too was formerly painted emerald green before it was stripped back to its present wood finish. Cape Schanck’s lantern room cabinet is unique for its curved front as well as curved back, and it stands on a skirting. The two doors are in the same style, although they open with a brass knob. Further research into these distinctive cabinets may resolve the interesting question of their construction. The Point Hicks cabinet is a unique, original feature of the lighthouse lantern room and has first level contributory significance for its historic values and provenance. The Point Hicks cabinet has two doors, each framed and beaded around a central panel, and there is a simple door knob. The back is curved and the front is straight and the doors are painted a grey/silver colour and the rest of the cabinet is emerald green.

A document summarising events significant to Legacy in the year 1946. With the return to peacetime the question of eligibility arose. The fundamental rule on which Legacy was based 'that of honourable service overseas' was clear cut in the case of the 1914-1918 war 'but much more difficult to define in the many and varied fields of service in the war which commenced in 1939'. Discussions were continued through the war at Annual Conferences. Many members believed that membership should be open to 'any male person who served as a member of the Forces of the British Empire irrespective of whether or not overseas service was involved'. And a resolution was passed at the 18th Annual Conference in Adelaide in 1946. Similar discussions of eligibility of Junior Legacy benefits was also discussed and definitions evolved. There was an increased need to help young widows with young children. First mention of the need to have a 'toddler home' for children from age 3 to 8. A property was acquired in Balcombe road with donation from the Trustees of 'Blamey House' - a war time hostel for servicemen which was being wound up and balance of funds being donated to Legacy. (Property acquired was 'Mossgiel' in Balcombe rd but renamed Blamey house due to the terms of the donation). Also the former Red Cross property of 'Stanhope' was made ready for the first residents welcomed in December 1946. Dureau House was under 'constant consideration'. (It seems the Dental Clinic was transferred here and there other part made available to the Melbourne Technical College - but in the 1950s it was still not suitable for Legacy's headquarters and sold). Classes during the war had been difficult to find suitable halls, and 43 Market St was still being used by the Air Force. A superannuation scheme was instituted for the Legacy staff. The notation H18 in red pen shows that it was part of the archive project that was trying to capture the history of Legacy. A report covering the main work of Legacy in 1946.White foolscap paper with black type x 5 pages of the achievements of Legacy in 1946.Handwritten 'H19' in red pen.history, annual summary

This child's dress is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. A photograph of their youngest child, Alice, taken in circa 1903 depicts her wearing the dress. The dress would have been only worn on special occasions (such as a formal family photographic portrait) as most young girls in that era would have smocks or pinafores for everyday wear. The age of the dress is in question as it may have been made by Eliza for her eldest daughter, Dorcus, who was born in 1884. This dress has some machine sewing at the neck, waistband and pintucks but much of the dress is handsewn and richly embroidered with Broderie anglaise. Broderie anglaise (also known as eyelet lace) is a form of cutwork embroidery. The foundation fabric is cut to make decorative holes which are sewn with overcast or buttonhole stitches to create a lace like effect. Designs often involve floral motives that are enhanced with simple embroidery stitches such as stem stitch and satin stitch and scalloped edges finished with buttonhole stitches. It was commonly used to trim baby clothes, dresses, nightclothes, underclothes and household linens - particularly in the Victorian and Edwardian eras. This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery to personalise and embellish a child's special dress.Child's white dress made of cotton and lawn, with a skirt of hand embroidered circular cutwork (broderie anglaise), a scalloped hem edged in buttonhole stitch and a gathered waist. The lined bodice has three panels of hand embroidered broderie anglaise (eyelet lace) inserted in a V shape with pintucks and bordered with a broderie anglaise lace frill. The short sleeves also have an inserted broderie anglaise lace strip, three pintucks and a broderie anglaise lace frill. The skirt is semi lined with fine lawn. The dress has a back opening with one button and two ties. The neckline is decorated with two rows of hand embroidered broderie anglaise lace.flagstaff hill, flagstaff hill maritime museum & village, warrnambool, shipwreck coast, great ocean road, nhill, wimmera, eliza towns, dorcus towns, child's dress, machine sewing, hand sewing, broderie anglaise, cutwork, embroidery, eyelet lace, clothing, handmade, charles towns, alice towns

Antoinetta COVINO-BEEHRE born Avellino, Italy arrived Australia 1968 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.This work was exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection. lls '2/36' lc 'Shadow of the Night' lrs ''Antoinetta Covino-Beehre'artist, artwork, antoinetta cravino-beehre, printmaking, parallel prints

Bruno LETI (1941- ) Born Rome, Italy Arrived Australia 1950 Bruno Leti was nine years old when he came from post World War Two Italy. Known as a painter, printmaker, photographer and publisher of artists’ books, he studied at RMIT, studying Printnaking under Tate Adams, and Melbourne Teachers' College. He has taught art in Italy, Canada, USA, and Melbourne, Australia. Bruno Leti lives and works in Melbourne. 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.This etching by Bruno Leti was exhibited as part of "Parallel Prints", a limited edition print project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection.trees, printmaking, etching, bruno leti, artist, artwork, parallel prints, landscape

Deborah WILLIAMS (1967 - ) Printmaker Deborah Williams completed a Masters by Research at the National Art School, Sydney in 2011. She later worked at RMIT in the Visual Arts TAFE program teaching Printmaking and is the Advanced Diploma Coordinator, and sessional lecturer in the Drawing and Printmedia department at the Victorian College of the Arts, School of Art. 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.Framed etching exhibited as part of "Parallel Prints", a Prints project which presents the same exhibition simultaneously in New Zealand, at Art at Wharepuke and at a gallery in another part of the world. Eleven Australian artists were invited to join New Zealand-based printmaker Mark Graver to contribute to a portfolio that will be shown simultaneously at Art at Wharepuke, New Zealand and the Art Gallery of Ballarat, Victoria. Using the uniqueness of the reproducible print allows for the same works to be viewed at the same time on opposite sides of the world. This highlights the democratic nature of printmaking and questions the aura of the unique. Which venue is showing the 'real' work? Which the reproduction? The Australian artists showing alongside Mark Graver are James Pasakos, Bruno Leti, Martin King, David Frazer, John Neeson, Antonietta Covino-Beehre, Deborah Klein, Deborah Williams, Melissa Smith, Jodi Heffernan and Susanna Castleden. The original concept, Parallel Prints NZ-UK in 2013, included invited artists from the UK and New Zealand. It featured the work of twelve diverse artists presented in a portfolio set. Each artist contributed one work on 300 x 300 mm paper in an edition of thirty-six. Part of the concept behind the project was to donate twelve of the portfolio sets to international collections. Institutions that have accepted a portfolio include the Victoria & Albert Museum and The Ashmolean Museum in the UK, the Jinling Museum of Art in Nanjing, China, and the Whangarei Art Museum, in New Zealand. In 2015 a portfolio set was donated to the Federation University Art Collection.Edition 2/36deborah williams, parallel prints, artist, artwork, printmaking etching, dog, animal, shadow

.1) Pages 7 to 10 of the Ballarat Courier, 10 July 1923. Page 7 includes the article 'Cheap electricity' and poses questions such as 'should Ballarat look to Morwell for cheap power?', and should an independent power plant be installed at Crockers, Arnolds, Harry Hall, Ewins, Harry Davies, Fred Halls, The London Drapery there. Page 9 includes articles on Ripon's roads, Mount Cole Springs; Soldier Settlement Rates Beaufort; Creswick brass band Officers; Daylesford Road Deviation to Hepburn Springs; Dereel Public Telephone; State Electricity Supply for Beaufort; Newlyn Valedictory to Mr and Mrs W. E. Bennett Page 9 - Racing at Ascot; Avoca Golf Tournament, Chinese Herbalists Page 10 - Auctions and house sales Advertisements include Harry Davies; Fred Halls; C. Marks and Co., London Drapery, Creer the Cashman; Chamberlain's Cough Remedy; Cornell's Little Liver Pills; Paynes; W. Fley Chemist; Bickart and Dawson; Rivers; Allchin Bros; J. Bartam & Son .2) Ballarat Courier, 30 July 1937, page 1 and 2 Page 1 reports Lal Lal's Iron Ore Company being formed. Page 2 reports the Prospectus of the lal lal Iron and Steel Blast Furnaces Mining Company, No Liability; Mining News - Wattle Gully; Commercial News Advertisements include Crockers, Arnolds, Harry Hall, Ewins, Harry Davies, Fred Halls, The London Drapery electricity, lal lal, lal lal iron, lal lal coalfield, morwell, gippsland, crockers, arnolds, harry hall, ewins, harry davies, fred halls, the london drapery, lal lal brown coal, ripon's roads, mount cole springs, soldier settlement rates beaufort, creswick brass band officers, daylesford road deviation to hepburn springs, dereel public telephone, state electricity supply for beaufort, newlyn, w.e. bennett, ascot, avoca golf tournament, chinese herbalists, c. marks and co., london drapery, creer the cashman, chamberlain's cough remedy, cornell's little liver pills, paynes, w. fley chemist, bickart and dawson, rivers, allchin bros, j. bartam & son, lal lal iron and steel blast furnaces mining company, wattle gully

Various short pieces of writing, some dated, earliest 1971, latest in 1997. Gwen Baker (1928-2005) was a foundation member of EDHS. See Also Newsleter 162, May 2005 GWENDOLINE MARGARET BAKER NEE BOWES 1928- 2005 Gwen Baker as we knew her, often used her full name in her writings and even acknowledged her maiden family name as a means of reinforcing her own personal identity. Gwen died on 28 Februrary 2005 and has been buried at Arthurs Creek Cemetery in accordance with her wishes. It is typical of her humour that after visiting the site she wrote: "I have seen the Cemetery, so if I wake in sleep it has a nice view" Gwen was a foundation member of our Society. We remember her mainly for her contribution to our meetings, her witty comments or questions to our speakers and, of course, her collection of plants that she contributed to help the finances of our Society. Her friends in the Society also remember her cards and brief letters on a wide range of subjects. Gwen's wide range of interests included pottery, poetry and of course her gardening. She was an active member of many organizations including the Red Cross, Catholic Church, Nillumbik Garden Club and the former Eltham Arts Council. Her small self- published booklet of poems and writings starts with tins item written at 2am on Easter Sunday 1975. THOUGHT The seeming steady stillness of this quiet night has varied sound to one who sits and thinks of life. Of times of your of pleasant things and if the future has in store a place to be - a reason to exist. One hears a bird upon the roof scratching at his mate while in the distance a car goes by returning home quite late. A neighbours dog goes forth and bark! then stillness once again, like sunshine after rain. and so the thinker having heard and thought, carefully turns out the light and goes to bed. 41 pages (20 A4 pages cut in half). Folder 76 from Harry Gilham Collectionpoetry, creative writing, gwen baker

All language educators are aware that culture is a vitally important reason for teaching languages. All curriculum statements for languages contain strong references to the importance of culture. We need to offer accessible cultural input to initiate the teaching of culture in language use, while at the same time not simplifying or stereotyping the community that speaks the language we are teaching. This book takes up these important questions and places in the hands of teachers well researched but very practical guidance, advice, resources and information on teaching culture in language. In this book you will find a discussion of what researchers, and classroom teachers, think and do about culture in language education and you will find a rich array of practical resources and advice for enhancing classroom practice. Specific languages addressed are: Chinese, French, German, Italian, Japanese and English as a Second Language. Preface /? Joseph Lo Bianco 1. Common themes /? Joseph Lo Bianco 2. Culture: visible, invisible and multiple /? Joseph Lo Bianco 3. A conceptual framework to help teachers identify where culture is located in language use /? Chantal Crozet 4. Chinese /? Li Kaining 5. How can we make Australian English meaningful to ESL learners? /? Anne-Marie Barraja-Rohan 6. Teaching French and culture in language use /? Chantal Crozet and Louise Maurer 7. Are Germans rude or just doing things differently? Understanding and teaching language and culture /? Winfried Thielmann 8. Face value: teaching Italian verbal and social-cultural interaction /? Piera Carroli, Adriana Pavone, Vincenza Tudini 9. The teaching of culture in Japanese /? Miyuki Toyoda and Shunichi Ishihara.diagrams, word listsculture theory, australian english, esl, language and culture, english as a second language

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

An article from the Bulletin including the text an address by Legatee Kem Kemsley at a Legacy event on 27 September 1983. He discusses the beginnings of Legacy. He relates the approach made to Sir John Monash to be the first president. It was via Legatee Frank Meldrum who was playing tennis with Monash's son-in-law. It shows the nature of relations between high ranking ex servicemen. Monash suggested Colonel Harold Cohen. Initially Legacy was founded with 'one person from each profession or business who will represent that profession until such time as the Club has established itself on a wider basis.' For example there were 'two solicitors - Downing and Armstrong, Meldrum as dentist, George Worboys as plumber, Dr Gardener as the eye specialist, Doolan and Goodchild as Surveyors, Fred Wickham of the Premier's department who was regarded as very important, Baker from Myer's Emporium, Joynt from the printing world and Blackett the architect.' He also mentions a Police Strike and General Monash set up a special constabulary force. Cohen, Kemsley and many of the early legatees answered the call to help keep peace. By December 1923 there were 54 members of the new Legacy club. The name was under consideration as the Tasmanian club was called Remembrance Club. Pip Powell nominated the name of Legacy to be submitted for consideration, but it was Frank Selleck who moved the formal resolution. By the end of 1924 initial objectives were met. A picnic with widows and children was held at Heidelberg and then Beaumaris, (limited by the few legatees who had motorcars at the time). Following thoses successes Frank Doolan posed the question 'what does Legacy really mean?' and focus changed toward widows and children. Legatee Savige had a property at Balnarring and the first camps were started. For boys there was a Lacrosse team and football team. Also swimming classes and literary and debating classes, which were hoped to be interesting and develop their minds along the proper form of citizenship. Then classes for the widows and later the girls. The article was part of an album of past presidents from 1965 to 1989. The folder included biographical details and obituaries, eulogies and death notices of prominent Legatees. The items have been catalogued separately.A record of a speech made by Legatee Kem Kemsley a past president of Legacy about events in the early days of Legacy. The information was collected to record the lives of prominent legatees in a folder.Photocopy of 3 pages from Bulletin on an address by Legatee Kem Kemsley in 1983.Bulletin No. VAW 1209. 6.10.1983. Page No 8, 9 and 10.past presidents, speech, kem kemsley, history, police strike

The orthodox version of the origins and history of the Kew Elder(ly) Citizens’ Association was established by Cr. W. D. Vaughan in his book Kew’s Civic Century (1960), when he wrote that: "When Mrs. C. H. Simpson was Mayoress in 1952 she set up the Elderly Citizens’ Association to care for the needs of ages persons in Kew. The idea was strongly supported and a start was made by providing social afternoons for elderly folk at Southesk. Visiting sick people in their homes, providing firewood where needed, and other activities were undertaken by the Association. The aid of Council was sought to further the work. It was decided that a social unit for elderly folk be established at Southesk." (p.126-7). In the following pages, he describes in detail Council’s role in formally establishing the Association. This ‘official’ version was reasserted in the later Thematic Environmental History of the City of Boroondara (2012). However the origins and gestation of community of organisations is rarely straightforward. In 1965, five years after Vaughan’s book was published, the author of East Kew Women’s Club : Twenty Years : 20-7-1945-30-7-1965, writing about the period July 1947 to July 1950, described the role the Club played in establishing the Kew Elder Citizens Association. The author wrote: "At a meeting of the Kew Community Aid, the plight of many elderly people in Kew who were dependent on pensions was raised and in order to ascertain their needs the practice was begun of serving morning tea at the Masonic Hall in Walpole Street, where pensions were then paid. From this beginning the Kew Elder Citizens Association was formed in Kew with wide support, and Club members gave willing support on the committee, in helping serve afternoon tea and in entertainment." (p.4) Photographic evidence also leads to questions about Vaughan’s version of events. A framed photograph in the Society’s Collection shows a Public Meeting to form the Kew Elder Citizens Association in a room at Southesk a year earlier in 1951. Whatever version of the origins of the Association is correct, a later framed photograph in the Society’s collection shows the opening of the completed Clubrooms of the Kew Elder Citizens at South Esk by the Hon. E.P. Cameron M.L.C, Minister of Health, on 12 November 1956. The Association is still active in Kew and is currently located at Hamer Court, opposite the Boroondara General (Kew) Cemetery in High Street, Kew.Framed and titled black and white photograph taken on the occasion of a visit by members of the Kew Elder Citizens Club to Lyons "Mountain Grand" Warburton, in February 1978.community groups -- kew (vic.), senior citizens clubs -- kew (vic), club tours

The orthodox version of the origins and history of the Kew Elder(ly) Citizens’ Association was established by Cr. W. D. Vaughan in his book Kew’s Civic Century (1960), when he wrote that: "When Mrs. C. H. Simpson was Mayoress in 1952 she set up the Elderly Citizens’ Association to care for the needs of ages persons in Kew. The idea was strongly supported and a start was made by providing social afternoons for elderly folk at Southesk. Visiting sick people in their homes, providing firewood where needed, and other activities were undertaken by the Association. The aid of Council was sought to further the work. It was decided that a social unit for elderly folk be established at Southesk." (p.126-7). In the following pages, he describes in detail Council’s role in formally establishing the Association. This ‘official’ version was reasserted in the later Thematic Environmental History of the City of Boroondara (2012). However the origins and gestation of community of organisations is rarely straightforward. In 1965, five years after Vaughan’s book was published, the author of East Kew Women’s Club : Twenty Years : 20-7-1945-30-7-1965, writing about the period July 1947 to July 1950, described the role the Club played in establishing the Kew Elder Citizens Association. The author wrote: "At a meeting of the Kew Community Aid, the plight of many elderly people in Kew who were dependent on pensions was raised and in order to ascertain their needs the practice was begun of serving morning tea at the Masonic Hall in Walpole Street, where pensions were then paid. From this beginning the Kew Elder Citizens Association was formed in Kew with wide support, and Club members gave willing support on the committee, in helping serve afternoon tea and in entertainment." (p.4) Photographic evidence also leads to questions about Vaughan’s version of events. A framed photograph in the Society’s Collection shows a Public Meeting to form the Kew Elder Citizens Association in a room at Southesk a year earlier in 1951. Whatever version of the origins of the Association is correct, a later framed photograph in the Society’s collection shows the opening of the completed Clubrooms of the Kew Elder Citizens at South Esk by the Hon. E.P. Cameron M.L.C, Minister of Health, on 12 November 1956. The Association is still active in Kew and is currently located at Hamer Court, opposite the Boroondara General (Kew) Cemetery in High Street, Kew.Historic early photograph from the archives of the Kew Elder Citizen's ClubFramed photograph of six women who it is presumed were the candidates or finalists in a competition to be the Queen of Southesk. At this time, Southesk in Cotham Road was home to the Kew Elder Citizens Club, now known as Kew Senior Citizens Centre Inc.Front mount: "Queen Competition 1967 - South Esk - Won by Mrs Harkansee." Reverse: "L-R: -. Miss Knox, Mrs Emmerson, Mrs Higgins, Mrs Moyle, Mrs Harkansee"kew elder citizens club, kew senior citizens centre inc., southesk, miss knox, mrs emmerson, mrs higgins, mrs moyle, mrs harkensee