Community Project. One of a series of calendars which the Shire of Eltham and the Shire of Nillumbik published annually Photography by Graham Hosking Photography. Monthly calendar printed in landscape mode, with feature photograph and template of dates for each of the 12 months presented. Includes advertisements. Back of the calendar includes a list of emergency numbers.calendar,1996,shire of nillumbik,research primary school,eltham north adventure playground,edendale gateway,tony trembath,eltham leisure centre,diamond valley railway,kangaroo ground pony club,eltham community and reception centre,eltham community centre,shire of nillumbik,swimming pool,yarra river,, diamond creek trail,yarrambat golf course,sugar loaf reservoir,map

35mm colour positive transparency (1 of 23) Mount - Kodak EktachromeProcess Date MAY 88Mmain road, eltham, ballara receptions

Situated beside the Living and Learning Centre, Australia’s first mud brick community building was opened here in 1978. It includes two halls and displays local art. It had a major upgrade in 2018.302 Kodak Safety 4 x 5 colour transparency Also 20 x 25 cm black and white printmudbrick, elham community reception centre

Located in Casterton Town Hall, upstairs in glass cabinet.black and white photograph of a procession of people and horse-drawn carraiges. They are standing on a road between a picket fence and a brick building with a decorative portico.Front: (no inscriptions) Back: Belongs to/ Ruth July/ re Audrey Grand (black pen, centre)casterton, lord hopetoun, horse-drawn carriage, 1800s

Roll of 35mm colour negative film, 7 stripsKodak GA 100 5095roads, main road, ballara receptions

This ticket was used in the 1950's to gain entry into the Mount Beauty Cinema, located in the community Hall. This ticket was donated by the person who attended one film shown in this theatre. This was in an era where before the start of screening, the "British" anthem was played and all patrons were required to be up-stand. Sometimes if somebody was not standing the usher would advise the patron of their patriotic duties to the "Queen" required them to stand unless they were physically incapacitated. This act demonstrated the strong bond to "mother England". From the late 1960's onward this strong show of loyalty "faded away" into history.This theatre ticket is very significant to Mount Beauty because it was the access by the Kiewa Valley residents to "big city" movies. This was in a time frame when television was just beginning to be a popular household entertainment appliance. The Kiewa valley was for a very long time "out of range" for television reception and the only form of screen images were attending the Mount beauty Theatre (just like the big cities but on a more intimate level). Just like the city movie Theatres, the Mount Beauty Theatre, was the centre of the "after five o'clock" entertainment hub. This was a time when going to the theatre was a big event and townsfolk "got dressed up" for this special occasion.It was the gathering place for young and old.This thick cardboard Cinema ticket to the Mount Beauty Theatre (cinema) has two distinctive sections separated by a single perforation. One section for the doorkeeper and one section to "kindly retain". The colour is light green with black print. The ticket was printed by RENWICK PRIDE.On each side of the perforation is printed, "Mt. BEAUTY" underneath in smaller print "THEATRE" underneath a dividing line "RES. SEAT" and stamped underneath "F" "13". Below these on the left side "DOORKEEPER" and on the right side "KINDLY KEEP"ticket, small theatre, local entertainment, public movie theatre, mount beauty cinema

Australia’s first mud brick community building was opened in 1978. In 2018 a major upgrade took place. Colour photograph of mud brick Eltham Community Centre at corner of Main Road and Pitt Streeteltham, community centre, buildings, mud brick, main road, pitt street, eltham community reception centre

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. Sands & McDougalls directory of Victoria : 1970 gives address as 141 Kooyong Road, Caulfield North. "Caulfield's Building Heritage" p67 includes that this mansion was originally called Fairhaven, built for George Hope, a dairy farmer. He changed the name to Tudor Court in 1915 when he moved his dairy to Cranbourne.Page 116 of Photograph Album with three photographs (one portrait and two landscape) of different views of Tudor Court in its garden. Handwritten: "Tudor Court" Kooyong Road [top right] / Neg 252 Dec 1972 [under top left photo] / Neg 251 Dec 1972 [under top right photo] / Neg 253 Dec 1972 [under bottom left photo] / 116 [bottom right]trevor hart, caulfield north, kooyong road, mansion, verandah, tudor court, george hope, terracotta tiles, terracotta roof, arched windows, port cochere, square bay window, timber balustrade, columned balcony, receptions, fairhaven, arcare caulfield aged care, 1910's, spire, ridge capping, conical roof, verandahs, victorian architectural style, tudor style, queen anne style, lead lights windows, shingle roofs

White card with white red and blue flags and blue print. On the card are the words, ' Welcome to Bendigo. The Bendigo Branch of the R.S. & S.I. L.A. welcome you back to your Native City, congratulating you on your safe return.' Major Adams, V.D. Two copies. C. 1945.clubs and associations, history, service clubs, lydia chancellor, collection, world war ii, civic reception, returned sailors & soldiers imperial league australia

Black and white photograph of a large gathering of people sitting at tables. Andrew Tasman on the left second row. W. Vincent Kelly, Mitchell Street, Bendigo at bottom left.person, group, tasman andrew

White invitation inviting Mr & Mrs J. H. Curnow to a Welcome to the Right Reverend the Lord Bishop of Melbourne and Mrs Lowther Clarke at the Town Hall, Melbourne on Wednesday, 4th March, 1903.document, invitations, receptions, document, invitation to mr & mrs j h curnow, the right reverend the lord bishop of melbourne and mrs lowther clarke

White card with rounded corners. The Mayor of Bendigo (Cr. J. R. Hoskins,) inviting Cr. J. H. Curnow & Mrs Curnow to a luncheon at All Saints Parish Hall, Bendigo, on Wednesday, March 5th, 1902, after the Installation Service of His Lordship, Bishop Langley, in All Saints Church. City of Bendigo emblem at the top of card.document, invitations, luncheon, document, invitation to reception of the bishop of bendigo, cr j r hoskins, cr j h curnow & mrs curnow, bishop langley

Luncheon invitation printed on cream card for the Visit of His Excellency the Governor and Lady Bowen to Sandhurst on the 4th November, 1873. Card is numbered 114 and was sent to John McIntyre Esquire.document, invitations, receptions, document, invitation to luncheon, governor and lady bowen, john mcintyre esquire

Return of the commissioning plaque to the City of Bendigo Victoria. The H.M.A.S.Bendigo 50th Anniversary was on the 10th May 1941 to 12 May 1991military, world war 2, h.m.a.s. bendigo, 50th commissioning anniversary h. m. a. s. bendigo, hmas bendigo association, ansett airways, mr ray burton, eric spooner, laurie bower, james (doc) walsh, colin (doc) reinke, dean thomas, wally eves, noel (lofty) bushell, laurie (banjo) patterson, lex dalgleish, bendigo naval cadets, lt peter covinton-thomas, captain s j griffith, captain j h dowson, mrs burton, rear admiral mike hudson, commadore jeffrey a morten, army survey unit bendigo, lt col r van den tol & mrs van den tol, chief superintendent fox & mrs fox, bendigo naval club, mr des norman & mrs norman, bendigo r s l, mr henry o'halloran & mrs o'halloran, mr john barnes & mrs barnes, welcome stranger motel/reception centre, mr john walsh, st andrews uniting church

Wooden small half table with three braced carved legs Top carved along circular edge.

nunga, paralowie reception 12 school, kaurna plains school, national aboriginal pedagogy project, aboriginal and torres strait islander education policy, curriculum development, south australia, oral history, literacy and learning

Newspaper article - The Leader, Wed, March 1, 1950, page 56.Hard Copyreception, melbourne, langham, 1950, nurses

Williams' use of the dog and poem was inspired by a print by the late Barbara Hanrahan (an artist friend) in which a women was holding a cat accompanied by a dog and in which words from a William Blake poem were included / After her mother died Williams made a work of her mother with the dog, holding the cat and using the same words in the Hanrahan print / The dog is a family pet; Dolcie, that Williams fell in love with / The dog as a symbol has been used in fifteenth and sixteenth century painting to represent fidelity in marriage / The use of the dog is also a contradiction to the themes in this work by Williams / Williams found that many of her women friends were having emotional and romantic difficulties, suffering from the same malady again and again, feeling rejected, destroyed and having unfulfilled desires / The female figure standing on her hands is not seeing things realistically / The figure is head over heels, vulnerable, with her skirt around her head revealing more than normal / The text enhances the meaning of the work and draws the viewer into experiencing the foolishness of love, demanding the viewer travel around and around to read it / Overall the dog provides structure to the work and a reliable object on which all else balances / Balance has been one of the recurring or repetitive themes within William's work / It references the physicality of clay, the difficulties in creating balance with the clay and balance in the work / Williams' work is about form rather than colour / Sometimes she uses a coloured clay like a pale terracotta / Williams likes the flatness of the surface in relationship to the marks of the text / She describes herself as a Minimalist, paring down the form to the bare essentials. 'In Love' was a finalist in the 1997 Nillumbik Art Award held at the Eltham Community and Reception Centre, Pitt Street, Eltham. A ceramic sculpture made of white stoneware clay (coated with a wash of gesso) of a girl doing a hand stand on the back of a dog (retriever?) / Her face/head is partially covered by her skirt which has come down / Her skirt is inscribed in the round with the poem "The Lady's First Song" (1938) by W.B. Yeats (see inscriptions and markings) / The dog is looking straight ahead and upwards towards the sky and his tail is pointing straight out. The dog is covered with cross-hatch incised lines to give the illusion of fur and texture / Hand written inscription of W.B. Yeats poem "The Lady's First Song" (1938) on girl's skirt / I turn round / Like a dumb beast in a show. / Neither know what I am / Nor where I go, / My language beaten / Into one name; / I am in love / And that is my shame. / What hurts the soul / My soul adores, / No better than a beast / Upon all fours.williams / yeats / love / ceramic / stoneware / dog

The Municipality of Kew (1860-1863), the Borough of Kew (1863-1910), the Town of Kew (1910-1921) and the City of Kew (1921-1994) were local government instrumentalities in the State of Victoria. In 1994, the City of Kew was amalgamated, together with the former Cities of Camberwell and Hawthorn, into the new City of Boroondara (1994- ). Like other local government entities of the period, Kew was administered by town clerks. The two notable town clerks in Kew's history were H. H. (Henry Hirst) Harrison (1868-1955) and W. D. (William Dickie) Birrell (1899-1974). Harrison was appointed to the position in 1901 and retired in 1938 after 37 years. Birrell, appointed Acting Town Clerk in 1921, became Town Clerk in 1938, following Harrison's retirement. He continued in this role until his retirement in 1966. A large part of this collection of civic ephemera was assembled by W. D. Birrell. This is part of an historically significant civic collection, containing hundreds of separate invitations, documents, greeting cards, programmes and tickets issued and/or collected by successive town clerks. Items in the collection illuminate the political, social and cultural history of the district. As a continuous record, ranging across most decades of the Twentieth Century, they reveal changing tastes in design, values and relationships in the history of local government in Victoria.ephemera, civic ephemera, civic invitations, city of kew, mrs f w dods, recreation hall -- kew (vic.), receptions

Ordsall, renamed Southesk in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Culls Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.The interiors of the two main reception rooms at Ordsall included some of the most outstanding domestic frescos painted in Australia in the late Victorian period. These frescos were executed by artists hired by the firm of Cullis Hill & Co. While a number of photographs were taken of the interiors prior to the house's demolition in 1970, this small fragment of the fresco is one of only three extant. The fresco allows conservators to examine and evaluate fresco techniques of the period.One of only two fragments of the painted domed ceiling of the ballroom of Ordsall (later renamed Southesk) which once stood at the corner of Cotham Road and Charles Street, Kew. This triangular piece of the fresco is of a cherub's face.Label: 'This is from the "Southesk" ballroom 14-7-70'ordsall, southesk, cullis hill & co.