In March 1995 ATCV had circulated a proposal for an ‘Australia Corps’. The proposal emerged over time from ATCV board and staff through debate and experience. ATCV Board member Alan Wright had written earlier: “There is in our society a terrible vacuum for adolescents to give expression to their independence and idealism in a constructive way, a chance to try themselves out independent of their parents/teachers in adult roles.” ATCV’s Brisbane office manager Phil Harrison had first been involved with ATCV as a volunteer from UK, drew together ideas about an ‘Australia Corps’, that had been discussed with Alan Wright, John Fenton and others at the ATCV staff/board planning workshop at Sorrento in December 1993 and “…based upon our experience and participation in the LEAP program and observations of Conservation Corps around the world”. The concept of a six-month program for young people with a training wage and accredited training which encouraged both competencies and personal development emerged, with a standard format of ten participants working fopr six months under the direction of a supervisor. The ‘Australia Corps’ proposal was widely distributed to Federal, State and Territory parliamentarians and received positive feedback. The Liberal Party, then in Opposition, included the idea of a “Green Army” in their environmental policy, placing more emphasis on environmental outcomes and less on job creation than the Keating ALP Government had. A young and up-and-coming parliamentarian, Tony Abbott MP, was enthusiastic and was to visit several ATCV projects (both before and after Green Corps started) to learn about their workings direct from volunteers and CVA staff. Several times he visited projects with Ian Smith project and Ian recalls being impressed by the efforts he made to talk at length with all participants. Tony Abbott took a personal interest in the progress of Green Corps. Colin Jackson and Phil Harrison were guests of Abbott in Parliament House, Canberra, on the evening of 20 August 1996. The Federal Treasurer, Peter Costello, announced in his first Budget Speech that: - “the Government will provide $42 million over the next 3 years to establish the Green Corps. The Green Corps will be open to young Australians aged 17 to 20 to demonstrate their commitment to the environment by working on projects to preserve and restore Australia's natural environment and cultural heritage. The projects will also contribute to their career and employment prospects through training, skills development, work experience and personal development.” ATCV’s chief executive officer Colin Jackson worked with senior staff Madeline Townsend, Garry Snowden, Phil Harrison, and John Fenton to fine-tune the ATCV proposal. On the strength of unique national coverage and credible record ATCV went on to win the tender to administer and manage the day-to-day operations of the Green Corps program for five years (1997-2002). Winning a $36 million contract was a big breakthrough for ATCV. Fourteen years before, a small non-profit group had started in Ballarat in country Australia with a vision – but little else. Its key people had shaped opinion and won political support for a concept. There was about to be transformation from hand-to-mouth existence into a nation-wide business with resources to build for the long term. This documents records many positive comments about Green Corps and ATCV's implementation of it.24pp illustrated booklet printed in green and some gold.atcv green corps australia-corps tony abbott mp phil-harrison

Brown plastic anchor with a mirror situated the middle.On the verso: sticker with handwritten note in blue stating, ‘VLADIVOSTOK/ USSR/JUNE 1992.’ 45p 50k & manufacture symbol PMA0315

This barometer was part the hydrology and forestry groups working within the SEC Vic Hydro Scheme from the initial appraisal review long before any construction began in the 1940's. The river flows and rainfall patterns had to be established before any construction of holding dams or tunneling could commence. This barometer is very relevant to the Kiewa Valley history because it presents the high degree of professional and technical information required at the time before implementing the "Scheme" upon the virgin alpine region and its effects upon the "natural" flows of the rivers within the Kiewa Valley. Time since the start of the project has verified the use of instruments such as this barometer and the information gained from its use that the success of any large impact upon a sensitive environment requires a thorough and systematic study before implementation. Weather records were kept of temperature, wet-bulb temperature, wind direction, speed and barometric pressures. To record barometric pressure a meter was devised with a clockwork mechanism which took one week to do a revolution. A chart was fitted to a drum and had an ink pen shaped like a little shovel. The shovel was filled with ink and was checked daily. To calibrate the barometer it was sent to the Melbourne General Post Office to be compared against the one there (at sea level). After calibration it was sent back to the Bogong Camp.On plaque on top side."NEGRETTI & ZAMBRA" underneath this and in smaller print "TRADE MARK" below this "LONDON" On the bottom and in small print "HOBART DUFFPty Ltd COLLINS HOUSE MELBOURNE C1"kiewa hydro electricity scheme, victorian state electricity commission, transformers, resistors, barometers

These long handled "Blacksmith" tongs were used in the late 1800's to mid 1900's by a blacksmith(or others) within the Kiewa Valley. During these times blacksmiths would regularly visit "remote" rural properties and work on any "hard to manufacture" items. A few properties had either stockmen,farm hands, or owners able to do "minor" blacksmith work. The ability to undertake blacksmith functions was sometimes "by necessity" handled by a local "jack of all trades" person. During this period however demand for rural based blacksmiths was very high. The rural store, however was usually very small and many "off" the shelf rural appliances and apparatus available in the larger rural towns were not available to the semi remote rural areas.This long handled shaped nipper tongs is very significant to the Kiewa Valley because it represents one of the essential mores relating to isolated rural regions as was the Kiewa Valley at this period in time (1800's to mid 1900's). This "ingrained " more was the ability to achieve anything that was required to maintain a living standard or survival in a remote grazing, mining and farming region. The remoteness was due to the small population, poor transport routes and flood prone roads winding through the lower lying flat plains of the Kiewa Valley. Any blacksmith work whilst grazing Cattle on the Bogong High Plains or any part of the Kiewa Valley, had to be done in situ. The part of the "culture" of this regions was that of "self help" either from within the family or from a friendly neighbour.Long handled blacksmith's tongs. The handles are rusted and painted orange. The nippers have one central fixing and are flat edged.tools, blacksmith, horses, trades

A hand sickle is typically used for harvesting grain crops or cutting succulent forage chiefly for feeding livestock (either freshly cut or dried as hay). this one was used for cutting back bracken fern.Sickles were not used as often on farms after the mechanisation of harvesting. They were still used for cutting awkward shaped small plots, for opening a path for the tractors and for clearing bracken. This item is an example of a tool used by the early settlers of the Orbost district.A wooden handled sickle used for fern cutting. It has a steel curved blade.Stamped on blade - RY4 MADE IN ENGLANDtool farming-implement sickle

This oil painting is in a handmade, carved frame, dates back to the period of the old Warrnambool Museum and Art Gallery. The two-masted, sail-and-steam-powered ship has the sails and bow shape of a tall clipper ship plus the extra power of steam. It dates to the transition between the clipper ships with their billowing sails and the steam-powered ships, which happened in the late 19th to early 20th century. The flag flown from the stern is that of the British Merchant Navy that traded around the world to transport cargo, and later passengers, from one destination to another. The painting was originally catalogued as the "S.S. Warrnambool" although it has a different design. It was also attributed to the ship portrait painter, the renowned C.K.M. - Charles Keith Miller - but differs from his style. Further research is being carried out at this time. In 1966, between the closure of the old Warrnambool Museum and Art Gallery and the distribution of the painting to Flagstaff Hill, this painting was repaired by David Heysen, son of the German-born artist Hans Heysen OBE. David was born in Hahndorf (called Ambleside for a short period of time), South Australia, married Lyly Refshauge from Melbourne, and they raised a family on their property in Kalangadoo, near Penola, in South Australia.The painting's frame is an example of handmade carving and joinery created in the late 19th century. The artist has depicted the image of a historical sail-and-steam ship of the type in which cargo was traded across the world, including to and from Australia. Vessels such as this also brought migrants to Australia.Painting, oil on board, in hand carved wooden frame with floral and geometric pattern, inner border painted gold. Image of a two-masted sail and steam ship, sails raised, black funnel emitting smoke. Hull is black with white horizontal stripe and white trim around sides of deck. Three lifeboats are visible. Bow is ‘clipper shape’ with what appears to be a figurehead. A red ensign flag flies at the stern and a blue and red flag is attached to the mainmast. The frame has been assembled using Mortice and Tenon joints, one of which is exposed on the back, lower right corner. Chandelier chain has been attached for hanging. There is no visible signature, date or title on the front of the painting. The back board has empty holes spaced around the edge and is held in place by staples. The visible surface has remnants of adhesive from two rectangular attachment s. There are two small white stickers attached, one with a hand written inscription. There are pencil and pen inscriptions. The painting is protected by cardboard with inscriptions in marking pen.On back board, written in the style used by the Warrnambool Museum and Art Gallery: - On white sticker, in pen “A-P31/1-74” - Pencil “A27/1883 / Artist CKM 1883 / Title SS Warrnambool / oil on board” Written in pen by the repairer - “Repaired & re-drilled – cleaned etc. / David Heysen 11/66” Written by Flagstaff Hill’s Cataloguer - Pencil “3031” On cardboard wrapper, in marking pen: - “S.S. Warrnambool / by / C.K.M. 1883” - “A-P/31/1-74” - “3031”flagstaff hill, warrnambool, shipwrecked coast, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, s s warrnambool, charles keith miller, charles miller, steam and sail ship, british merchant navy, slipper shaped bow, 19th century sea trade, warrnambool museum and art gallery, old warrnambool art gallery, hand carved picture frame, mortice and tennon picture frame, migrants, c.k.m.

Paperback. Front cover has an old photograph of the Wilks Creek Bridge.non-fictionA history of the Wilks Creek Bridge and its connection to the Yarra Track.wilks creek bridge, yarra track, narbethong, marysville, victoria, clement wilks, wood's point goldfields, jordan goldfields, john monash, monash and anderson, 2009 black saturday bushfires

A colour photograph of the Wilks Creek Bridge near Marysville in Victoria.A colour photograph of the Wilks Creek Bridge near Marysville in Victoria. The Wilks Creek Bridge is a former timber and bluestone road bridge on the Yarra Track, and is located just off the Black Spur route, between Narbethong and Marysville, Victoria, Australia. It was built in 1870 to the design of colonial Public Works Department engineer Clement Wilks as part of the construction of a new road to the Woods Point and Jordan Goldfields. Like many bridges of the period, it had a timber superstructure employing squared beams supported by struts and straining pieces, on cut bluestone abutments. The bridge was remodelled around 1900 by engineer John Monash of the famous bridge-engineering firm of Monash and Anderson. It was last used for heavy vehicular traffic in 1980 following the realignment of Marysville Road, and was left to decay until its demolishment in 2008. All timber traces of the bridge were destroyed in the 2009 Black Saturday fires. The handcrafted bluestone masonry wingwalls and abutments, especially shaped to receive timber struts, rate among the earliest of its kind surviving intact in Victoria.wilks creek bridge, yarra track, narbethong, marysville, victoria, clement wilks, wood's point goldfields, jordan goldfields, john monash, monash and anderson, 2009 black saturday bushfires

A black and white photograph taken at the re-opening of the Wilks Creek Bridge picnic area and launch of Ann Thomas' book Wilks Creek Bridge.A black and white photograph taken at the re-opening of the Wilks Creek Bridge picnic area and launch of Ann Thomas' book Wilks Creek Bridge. The Wilks Creek Bridge is a former timber and bluestone road bridge on the Yarra Track, and is located just off the Black Spur route, between Narbethong and Marysville, Victoria, Australia. It was built in 1870 to the design of colonial Public Works Department engineer Clement Wilks as part of the construction of a new road to the Woods Point and Jordan Goldfields. Like many bridges of the period, it had a timber superstructure employing squared beams supported by struts and straining pieces, on cut bluestone abutments. The bridge was remodelled around 1900 by engineer John Monash of the famous bridge-engineering firm of Monash and Anderson. It was last used for heavy vehicular traffic in 1980 following the realignment of Marysville Road, and was left to decay until its demolishment in 2008. All timber traces of the bridge were destroyed in the 2009 Black Saturday fires. The handcrafted bluestone masonry wingwalls and abutments, especially shaped to receive timber struts, rate among the earliest of its kind surviving intact in Victoria.wilks creek bridge, yarra track, narbethong, marysville, victoria, clement wilks, wood's point goldfields, jordan goldfields, john monash, monash and anderson, 2009 black saturday bushfires

A black and white photograph taken at the re-opening of the Wilks Creek Bridge picnic area and launch of Ann Thomas' book Wilks Creek Bridge.A black and white photograph taken at the re-opening of the Wilks Creek Bridge picnic area and launch of Ann Thomas' book Wilks Creek Bridge. The Wilks Creek Bridge is a former timber and bluestone road bridge on the Yarra Track, and is located just off the Black Spur route, between Narbethong and Marysville, Victoria, Australia. It was built in 1870 to the design of colonial Public Works Department engineer Clement Wilks as part of the construction of a new road to the Woods Point and Jordan Goldfields. Like many bridges of the period, it had a timber superstructure employing squared beams supported by struts and straining pieces, on cut bluestone abutments. The bridge was remodelled around 1900 by engineer John Monash of the famous bridge-engineering firm of Monash and Anderson. It was last used for heavy vehicular traffic in 1980 following the realignment of Marysville Road, and was left to decay until its demolishment in 2008. All timber traces of the bridge were destroyed in the 2009 Black Saturday fires. The handcrafted bluestone masonry wingwalls and abutments, especially shaped to receive timber struts, rate among the earliest of its kind surviving intact in Victoria.wilks creek bridge, yarra track, narbethong, marysville, victoria, clement wilks, wood's point goldfields, jordan goldfields, john monash, monash and anderson, 2009 black saturday bushfires

A black and white photograph taken at the re-opening of the Wilks Creek Bridge picnic area and launch of Ann Thomas' book Wilks Creek Bridge.A black and white photograph taken at the re-opening of the Wilks Creek Bridge picnic area and launch of Ann Thomas' book Wilks Creek Bridge. The Wilks Creek Bridge is a former timber and bluestone road bridge on the Yarra Track, and is located just off the Black Spur route, between Narbethong and Marysville, Victoria, Australia. It was built in 1870 to the design of colonial Public Works Department engineer Clement Wilks as part of the construction of a new road to the Woods Point and Jordan Goldfields. Like many bridges of the period, it had a timber superstructure employing squared beams supported by struts and straining pieces, on cut bluestone abutments. The bridge was remodelled around 1900 by engineer John Monash of the famous bridge-engineering firm of Monash and Anderson. It was last used for heavy vehicular traffic in 1980 following the realignment of Marysville Road, and was left to decay until its demolishment in 2008. All timber traces of the bridge were destroyed in the 2009 Black Saturday fires. The handcrafted bluestone masonry wingwalls and abutments, especially shaped to receive timber struts, rate among the earliest of its kind surviving intact in Victoria.wilks creek bridge, yarra track, narbethong, marysville, victoria, clement wilks, wood's point goldfields, jordan goldfields, john monash, monash and anderson, 2009 black saturday bushfires

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.From Victorian Heritage Database citation for Glernfern H0136 https://vhd.heritagecouncil.vic.gov.au/places/57 (as at 23/10/2020) Glenfern was built on spacious grounds at the corner of Inkerman and Hotham Streets, East St Kilda in two main stages in 1857 and 1876. From 1876 to 1984 Glenfern had only two owners, including the well known Melbourne family of artists, the Boyds. The property was bequeathed to the National Trust of Australia (Victoria) in 1984 and has remained in their ownership. The original Glenfern allotment was bought by John Bakewell in 1856 and sold the following year to Francis McDonnell, a prominent Melbourne investor. By 1858, the house, rated as the most valuable in Caulfield, had been built on the site. Due to financial difficulties, McDonnell offered a number of properties for sale in 1860, including Glenfern. It was not sold at this stage, but subsequently mortgaged in 1862. In 1866 Thomas Watson purchased the property and lived there until 1876 when it was sold to Captain John T. T. Boyd and his wife, Lucy, founders of the Boyd dynasty of artists, musicians, writers and architects. The Boyd family, including twelve children, lived there until 1907, with Lucy Boyd retaining ownership after her husband's death in 1891. In 1907 the property was subdivided and the greatly reduced Glenfern portion was purchased by the Ostberg family, who lived there from 1915. In the latter years of Boyd family ownership and the Ostberg ownership, Glenfern had several tenants and was run as a school on two occasions. The Ostberg family occupancy continued until the death of Miss Amy Ostberg in 1984. From 1929 the property was listed as Glenfern Flats, necessitating various internal alterations over a period of time. The original two storey house, attributed to architect Charles Laing, was extended for the Boyd family in 1876, by architect M. Hennessy. This comprised the addition of a two storey wing to the south of the existing building. Stables were built in 1884 by the architects Smith and Johnson and other outbuildings, since removed, were recorded on the site. The gardens were developed from the establishment of the estate and remnants of early plantings, exotic trees in particular, are evident. Various additions and alterations were made to the house in the twentieth century and a separate block of flats was built on the southern boundary in c1964. Glenfern is a two storey picturesque Gothic house of stuccoed brick with steep, gabled slate roofs, elaborate bargeboards and chimneys of conjoined stacks set diagonally. The original, asymmetrically planned L-shaped house, containing the principal rooms and a rear wing, was designed with two main facades facing north and west. The north facade contains an unusual recessed pointed arch bay formed between twin chimney flues. Internally cedar joinery includes an unusual set of double doors between the drawing room and parlour, the centre pair of which fold back and then slide into the walls. Detailing of the 1876 additions copied that of the original house, including the bargeboards, chimneys and western verandah. Ownership of Glenfern passed to the National Trust of Australia (Victoria) in 1984 and in 2002 transformation of the property into a Centre for the Arts and Culture commenced. This began with the establishment of an Artist-in-residence programme, followed by the Glenfern Writers Centre. Restoration and renovation of the building has been undertaken concurrently with the establishment of this centre. How is it significant? Glenfern, East St Kilda is of architectural and historical significance to the State of Victoria. Why is it significant? Glenfern is of architectural significance as an unusually intact and rare example of the picturesque domestic Gothic Revival house in Victoria. Of particular note are the clustered chimneys, bargeboards and twin arched chimney flues and the folding/sliding cedar doors between the principal rooms. It is significant as an important work of the prominent Melbourne architect, Charles Laing. Glenfern is of historical significance for its connection with the distinguished Victorian Boyd family. It has been recorded in a painting by Emma Boyd, wife of Arthur, in 1885 and in print by writer, Martin Boyd in 1952. Glenfern is of historical significance due to its ownership by only two families from 1876; firstly the Boyds until 1907 and the Ostbergs until 1984. Of note is the resistance to redevelopment in the latter half of the twentieth century and the subsequent survival of the 1907 Glenfern estate.Page 98 of Photograph Album with two photographs (one square and one landscape) of views of Glenfern.Handwritten: "Glenfern" 417 Inkerman Street [top right] / 98 [bottom right]trevor hart, east st kilda, garden, pitched roof, glenfern, hotham street, boyd family, 1850's, 1860's, 1870's, john bakewell, francis mcdonnell, thomas watson, lucy boyd, glenfern flats, charles laing, m. hennessy, smith and johnson, stables, gothic, stuccoed brick, gabled slate roofs, elaborate bargeboards, asymmetrical, cedar joinery, verandah, national trust of australia, centre for the arts and culture, artist-in-residence, glenfern writers centre, gothic revival, clustered chimneys, emma boyd, inkerman street, north caulfield, captain john boyd, artists, writers, st kilda east, national trust of australia (victoria), caulfield, amy ostberg, architects, m hennessy, doors, chimneys, martin boyd, arthur boyd, ostberg family

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. From Glen Eira Heritage Management Plan 1996 by Andrew Ward: In 1905, most of portion 27 was vacant land, however Glenferrie Street had been formed and the land subsequently subdivided. In 1906, Robert Joseph Haddon, architect and painter, designed and built for his private residence, a brick house on the west side. Haddon named the house "Anselm". Also built on the property were a garage and fibro cement studio. "Anselm" is architecturally important at the State level as a substantially intact, highly personalised and boldly expressed house expressive the Arts and Crafts movement and incorporating Art Nouveaux enrichment in a variety of forms, the use of ornamental terra cotta tiles to the comer tower being of special note. Its importance at the State level is strengthened by its place as the home of the noted architect and Melbourne's most influential exponent (Freeland, J.M., Architecture in Australia, p. 213) of the Art Nouveaux movement.https://vhd.heritagecouncil.vic.gov.au/places/4442 Victorian Heritage Register: What is significant? Anselm was designed by noted English born architect Robert Joseph Haddon(1866-1929) as his own house and constructed in 1906. A single storey Arts and Crafts influenced red brick house with attic, Anselm has a pyramidal slate roof with prominent chimney stacks. There is a octagonal corner tower with saucer shaped domed roof surmounted by a weather vane, and the tower has decorative terracotta panels immediately below the eaves line. The front door opens immediately into a large living or common room, screened from view by a timber and bottle glass screen. The large room was designed to function as a drawing and dining room. The house is rich with hand crafted details including door and window furniture, wrought iron gutter brackets, fireplaces (one with built in wood box), and fire tools. The interior decoration includes hand painted frieze of Port Phillip in the study, and a hand painted frieze of turbulent sea with sailing boats in the tiled bathroom. There is a small hand painted tile at the base of the tower which states ?This building was erected AD1906 from designs by Robt J Haddon FRIBA,Lond FRIVA Melb Architect?. He also designed an attic addition which was constructed in 1927. Anselm is substantially intact although the double casement window immediately to the south of the front door was originally circular....Page 60 of Photograph Album with three exterior photographs (one portrait and two landscape) of Anselm.Hand written: 4 Glenferrie Street [top right] / ANSELM 4 Glenferrie St [under top photo] / 60 [bottom right] trevor hart, anselm, art nouveaux, arts and crafts, tower, bay window, glenferrie street, robert joseph haddon, 1900's, terra cotta tiles, double storey, caulfield north, corner tower, gates, cast iron work

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. From Glen Eira Heritage Management Plan 1996 by Andrew Ward: In 1905, most of portion 27 was vacant land, however Glenferrie Street had been formed and the land subsequently subdivided. In 1906, Robert Joseph Haddon, architect and painter, designed and built for his private residence, a brick house on the west side. Haddon named the house "Anselm". Also built on the property were a garage and fibro cement studio. "Anselm" is architecturally important at the State level as a substantially intact, highly personalised and boldly expressed house expressive the Arts and Crafts movement and incorporating Art Nouveaux enrichment in a variety of forms, the use of ornamental terra cotta tiles to the comer tower being of special note. Its importance at the State level is strengthened by its place as the home of the noted architect and Melboume's most influential exponent (Freeland, J.M., Architecture in Australia, p. 213) of the Art Nouveaux movement. Victorian Heritage Register https://vhd.heritagecouncil.vic.gov.au/places/4442 What is significant? Anselm was designed by noted English born architect Robert Joseph Haddon(1866-1929) as his own house and constructed in 1906. A single storey Arts and Crafts influenced red brick house with attic, Anselm has a pyramidal slate roof with prominent chimney stacks. There is a octagonal corner tower with saucer shaped domed roof surmounted by a weather vane, and the tower has decorative terracotta panels immediately below the eaves line. The front door opens immediately into a large living or common room, screened from view by a timber and bottle glass screen. The large room was designed to function as a drawing and dining room. The house is rich with hand crafted details including door and window furniture, wrought iron gutter brackets, fireplaces (one with built in wood box), and fire tools. The interior decoration includes hand painted frieze of Port Phillip in the study, and a hand painted frieze of turbulent sea with sailing boats in the tiled bathroom. There is a small hand painted tile at the base of the tower which states ?This building was erected AD1906 from designs by Robt J Haddon FRIBA,Lond FRIVA Melb Architect?. He also designed an attic addition which was constructed in 1927. Anselm is substantially intact although the double casement window immediately to the south of the front door was originally circular....Page 61 of Photograph Album with one exterior photograph (portrait) of Anselm.Hand written: 61 [bottom left] trevor hart, anselm, art nouveaux, arts and crafts, tower, bay window, glenferrie street, robert joseph haddon, 1900's, terra cotta tiles, double storey, caulfield north, corner tower, brick house, attics

The use of cookie cutters dates back to at least Roman times, as some were found in the ruins of Pompeii. They were buried by the eruption of Mount Vesuvius in 79 AD.Cookie cutters have been used to create attractive shaped biscuits and cakes for many years.Five round metal pastry cutters with serrated edges, the largest one with a handle. None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, cookies, cutters, biscuits, cakes

The use of cookie cutters dates back to at least Roman times, as some were found in the ruins of Pompeii. They were buried by the eruption of Mount Vesuvius in 79 AD.Cookie cutters have been used to create attractive shaped biscuits and cakes for many years.Set of five metal cookie cutters.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, cookies, cutters, biscuits, cakes

62 pages : illustratednon-fictionIn 1839 a runaway horse crashed into a tree stump that stood in the middle of Bourke Street; and in 1840 there were holes in Collins Street so deep that a child was nearly drowned in one. Early Melbourne Sketchbook recaptures the exciting early days of the city, days when rainy weather rendered Elizabeth Street impassable without a punt, and when Melbourne's first city councillor was elected on the promise of free beer to his constituents. Brian Carroll has sought out an interesting collection of contemporary illustrations to take us back to the beginning of Melbourne, from the original discovery of Port Phillip in 1802. David Collins' abortive settlement at Sullivan's Bay was abandoned in 1803, and it was not until 1835 that John Batman settled on his now famous 'place for a village'. Here are fascinating stories of the men who founded and shaped Victoria's capital city: Batman, Fawkner, Bourke, La Trobe. In addition, there is a wealth of information about Melbourne's buildings and landmarks - places such as St Francis', the Post Office, the Town Hall, Princes Bridge, and Young and Jackson's. Early Melbourne Sketchbook describes vividly the historical development and cultural growth of the city that was to become Australia's financial capital and its second largest city. (Inside cover)melbourne, historic buildings

Object. Woven palm - frond handle and 'spine'. Strips of palm-frond have then been split from the fronds, and woven in a 'basket' effect, with slightly wider - 1 cm, at the base of the fan shape, tapering to .5 cm at the top. Lower section at the centre. A second 5 cm straight shape section steps up to a top peak, 4 cm high. Some pattern is visible, in a darker colour.costume accessories, female, palm -frond diamond shaped fan

Index, bibliography, notes, ill, maps, p.217.non-fictionFor the first time, we can read the innermost thoughts, hopes and criticisms of the man who, more than any other, shaped the ANZAC legend. world war 1914-1918 - campaigns - gallipoli, gallipoli campaign - war correspondents

Glossary, maps, p.236.non-fictionWinchester travels in a scimitar-shaped journey through Croatia, Bosnia, Montenegreo, Macedonia, Bulgaria and Greece to Turkey. He names his route the Fracture Zone, because this locale marks not only the meeting of two vast continental tectonic plates, perpetrators of geological chaos, but also the uneasy boundary between two great historical empires, the Hapsburg and the Ottoman." "The Fracture Zone weaves together history, travel and political perspective with the personal testaments of ordinary and extraordinary people. In this record of history, hatred and ruin, Simon Winchester details the conditions under which the area's refuges now live against a background of ancient political and spiritual strugglebalkan peninsula - history, balkan peninsula - travel

Index, notes, ill, p.386.non-fictionThe Vietnam War, together with the selective form of national service which sent thousands of young conscripts to fight in Vietnam, dominated Australian politics for ten years." "A Nation At War tells the story of Australia during this tumultuous decade. It shows how the initial support for the Vietnam commitment was eroded until a majority of the population came to think that it was mistaken, if not immoral. The book traces the growth of the protest movement against the War and conscription, giving the most detailed account yet published of the three Moratorium protests in which tens of thousands of Australians demonstrated. A Nation At War discusses the decisions of the Menzies, Holt, Gorton, McMahon and Whitlam Governments, as they responded to these unprecedented protests while wrestling with diplomatic pressures emanating from powerful allies and strife-torn neighbours. The book also analyses the incidents which shaped the debate and which long remained in public memory - the alleged 'water torture' incident, the episodes involving conscientious objectors like Simon Townsend and William White, and many morevietnam war 1961-1975 – australian involvement, australia - foreign relations - 1961-1975

Index, ill, maps, p.256.This history of the war has commentary on the political and economic factors leading to the conflict, the key turning points of the war and the impact of new technologies. Colour campaign maps and battle plans complement the description of every major battle on land and at sea, along with analysis of the success and failure of the various military strategies. It focuses on the key military figures who shaped the course of the war and describes all of the most successful weapons of war, with a specification box on each weapon providing key technical details.world war 1939-1945 - history, world war 1939-1945 - campaigns

Typed page on the history of the Bendigo Pottery (Epsom) Pty. Ltd. It tells the story of George Duncan Guthrie, his arrival in Australia, his travels in Australia and finally settling in Bendigo where he set up the Bendigo Pottery.document, names of bendigo pioneers, bendigo pottery, bendigo pottery (epsom) pty ltd, mr w derham, royal doulton, clay division of humes, bendigo institute of technology, national gallery, george duncan guthrie, sailing ship washington, beehive shaped kilns

Asian Alternatives takes readers into the corridors of power in Canberra and inside Australia's secret diplomatic dealings to analyse the forces that shaped Australia's policies of the 1960s.vietnam war, 1961-1975 - australia, australia - foreign relations - united states

Asian Alternatives takes readers into the corridors of power in Canberra and inside Australia's secret diplomatic dealings to analyse the forces that shaped Australia's policies of the 1960s.vietnam war, 1961-1975 - australia, australia - foreign relations - united states

Portrait of H. G. SteeleH. G. (Harold George) Steele was Carey Baptist Grammar School's foundation (first) headmaster and held office for twenty-two years and lived to see the School he had shaped become one of Victoria's eleven Associated Public Schools. headmasters, 1923, carey baptist grammar school

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