Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet A Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial Committee - Newspaper Articles and letters to the Bendigo Art Gallery 2808.9a First Article: Bendigo Advertiser article 18/12/1985 on "two of Bendigo's noted daughters , Ola Cohn and Amy Huxtable" Describes the restoration of the Ola Cohn drinking fountain in Rosalind Park, and the installation of the Amy Huxtable Memorial Seat in the Conservatory Gardens. Second Article: Bendigo Advertiser Letters to the Editor Column 30/12/1988 paragraph entitled "Credit where it is due: "A special tricentennial council effort would be to restore the paths, kerbs and sculpture by Ola Cohn, J H Curnow Fountain, the Bob Brothers Memorial and the Chain of Ponds" (Rosalind Park) 2808.9b Seven Pages of letters: 1. To Mrs Thelma Dingle from Doug Hall, Bendigo Art Gallery Director 30/1/1986 regards the Amy Huxtable committee funding the restoration of the Ola Cohn Fountain by sculptor Mr Marc Clark. 2. From the Amy Huxtable Committee 24/3/1986 back to the Art Gallery explaining that the committee leftover funds be given to the art Gallery to go towards the restoration of the Oal Cohn Fountain. 3. From the Art Gallery to Miss N D young, Amy Huxtable Committee 3/4/1986 thanking the committee for the funds. 4. From the committee to the Mayor and Councillors, Bendigo City, 4/2/1987 asking for an update on the project. 5. Copy of above letter. 6. From the City of Bendigo to the Committee 17/2/1987, advising of progress on the restoration of the fountain. 7. From Norma Young to the Bendigo Advertiser Letters to the Editor, advising of progress on the Ola Cohn Sculpture and the J H Curnow Fountain restoration. history, amy huxtable, bendigo, amy huxtable memorial committee, bendigo conservatory gardens, ola cohn, j h curnow fountain

The RDNS Sister is giving Post Natal care to the Mother and babe. She is wearing her RDNS summer uniform which is a white short sleeve blouse under a royal blue V necked tunic dress with the RDNS insignia emblazoned on the upper left.In August 1893 Melbourne District Nursing Society (MDNS), commenced a Midwifery Service with Nurse Fowler, who was trained in General nursing and Midwifery nursing, being the first Midwife employed. Mothers were assessed for suitability of a home birth or if they required delivery at the Women’s Hospital. The Midwife worked in conjunction with the Doctors at the Women’s Hospital and if a complication arose the patient was transferred to their care. Following birth they gave Post-Natal care to both the mother and babe. In 1898 the service ceased due to lack of funds but recommenced in 1906, and in the August 1925 Annual Report the number of MDNS home births was recorded at 478. MDNS built the After-Care Home and an Anti-Natal Clinic was opened in 1930. The last Ante-Natal clinic was held there in December 1951 and the MDNS Midwifery service ceased in February 1952. In 1964 MDNS commenced a Post-Natal Service with general and midwifery trained MDNS nurses working from a room at Footscray Hospital, and visiting early discharged Footscray Hospital maternity cases at home. Now as Royal District Nursing Service (RDNS), this service was extended to a Domiciliary Infant and Maternal Care, (DIMC) service operating from most Centres and visiting early discharged, often 24 hours after birth, maternity cases from hospitals to give post-natal care to the mother and babe.Black and white photograph of a Royal District Nursing Service (RDNS), Sister visiting a family in their home. The family are sitting on a dark coloured couch. From left to right:- The father, who has short dark hair and is wearing a light coloured patterned shirt and dark pants, is looking at his young blond haired daughter who is sitting on his right knee. She is wearing a light coloured top and darker coloured bib and brace pants. The mother, who has long dark hair and wears glasses,.is next to him and is smiling and looking towards the RDNS Sister. She is wearing a long sleeve buttoned grey top and darker coloured slacks, and is holding her babe in her lap with both hands supporting the baby's head. The babe has sparse dark hair and is wrapped in a white bunny rug. Next is a young girl, who has short dark hair and is wearing a light coloured top, darker coloured slacks and has her hands on the top of her left striped sock. Seated on the far right is the RDNS Sister, who has short straight dark hair, and has her face turned towards the child and mother. She is wearing her RDNS uniform of a short sleeve white blouse under a dark V neck tunic style dress which has the RDNS insignia on its upper left. The Sister has a pen attached to the V neck of the tunic and is holding a note book in her hands. She has a watch with a dark band attached to her left wrist. In the background part of a wooden and glass door can be seen and a patterned wallpapered adorns the wall behind the couch.Photographer stamp. Quote No EA 28melbourne district nursing society, mdns, royal district nursing service, rdns, dimc, mdns midwifery, rdns domiciliary infant and maternal care

Yields information about the SEC Ballarat tram employees names for 23/4/ 1953. Has a strong association with the list Author. Also demonstrates the administration of a locally based welfare fund.Carbon copy of a hand written list dated 23-4-1953 of 59 people on the front and two on the rear showing payment to the Ballarat Tramway "Welfare Club Payment". Payment appears to total 12 pounds 4 shillings. See also Reg item 6312 for a June 1952 list. Handwritten on ruled paper which has been folded into four. Note: - this list may also include depot employees. List compiled from the .xls file compiled by Peter Waugh. The ones listed as record 6312 only below. Bath Percy Carl Motorman 1949 1971 6312 Birch Harold Reginald Conductor 1949 1963 6312 Black E. 1953 6312 Carter T. 1953 6312 Courtney R. 1953 6312 Davies A. 1953 6312 Diamond Leo Motorman 1953 1954 6312 Donald James Frederick 1949 1963 6312 Dynon J. 1953 6312 Ellis Alfred Lewis Motorman 1942 1968 6312 Hall Keith William Conductor 1953 1954 6312 Harry D. 1953 6312 Hutchins K. 1953 6312 Jolly A. 1953 6312 Jordan R. 1953 6312 Kellett Alfred Joseph Tramway employee 1949 1971 6312 McGann N. 1953 6312 Menzies J. 1953 6312 Mills I. 1953 6312 Morgan Colin George 1953 1963 6312 Morris N. 1953 6312 Oliver R. 1953 6312 Pinkard M. 1953 6312 Spencer M. 1953 6312 Taylor H. 1953 6312 Thompson Arthur Frederick Mark 1953 1954 6312 Vicars A. 1953 6312 Wapshott Herbert William 1953 1954 6312 Weeks John Herbert Motorman 1953 1954 6312 Wellard Graham Charles 1953 1954 6312 Young S. 1953 6312 These people have more than one entry into the data base T. Dunstan H. Grundell G. Hall H. Hawkes A. Jeffreys D. Kellett H. Knight H. Lorensini H. McWilliams A. McWilliams R. Mason A. Mercer R. Nestor H. Preston S. Reynolds H. Smerdon G. Satchell R. Turnbull A. Vicars W. Ward L. Walker L. Wellard S. Young T, Young J. Menzies F. Edmonds S. Edmonds F. Callahan N. Clark L. Godsell N. McLachlan F. Brown J. Myers On rear "Welfare Club Payment"sec, ballarat, personnel, welfare, crews

Typed carbon copy headed State Electricity Commission of Victoria, Electricity Supply Department - Ballarat Branch "List of Overs and Shorts for Fortnight Ending 30 October 1943". Typed with employee names, number, Over, Short, Fares Collected, Total and Balance of Over/Unders. Ruled in black and blue lines. Gives overs and unders for each day for each person and a total for each person and day and blue and red ink. Initialled in pencil and dated 3/11/43. Photocopies of sheet made - A3 and left hand side scanned image stitched together - see i3 (left hand half only) List of names: List of Employees– Overs and Unders return – 30/10/1943 SEC Ballarat Branch 1 Pyle NT 2 O’Donnell T 3 Prisk J 4 McDonald GJ 5 Furlong P 6 Preston H 7 McWilliam N 8 Bartlett C 9 Mason R 10 Van Berkel S 11 Young CE 12 Jolly At 13 Bodey HG 14 Johnston A 15 Ford EJ 16 Brown GC 17 Young T 18 Irving J 19 McLachlan D 20 White CF 21 Knight H 22 Bowden F 23 Scott S 24 Ellis AE 25 Sewell RW 26 Young JC 27 McCormack J 28 Eltringham E 29 Purdue A 30 Satchell GH 31 Smerdon J 32 Scruse F 33 McGann V 34 Morrow R 35 Reynolds S 36 Hall G 37 Strickland L 38 Skurrie 39 Paull J 40 Atikins B 41 Mitchell S 42 Browne M 43 Cheney J 44 Lawrence A 45 Doncaster T 46 Hudson T 47 Ritchie ME 48 Harrison J 49 Horbury T 50 Moss H 51 Tonkin P 52 Tucker V (Verna May Tucker - email of 23-9-2020 - 1914-2001 from [email protected]) 53 Denmead KI 54 Etty CC 55 Spielvogel J 56 Wightwick J 57 Jakobi EA 58 Egan V 59 Dixon DA 60 Cole M 61 Chibnall L 62 Grundell HP 63 Duke F Fox A (no number alongside)In pencil "Miss Gullock" ?? crossed out and "Mr. Munro"tickets, fares, employees, conductors, motormen, conductresses, uniforms

MERLE HALL COLLECTION: ROSALIND PARK CREATIVE VILLAGE BENDIGO NEWSPAPER ARTICLES 3858.9a Young boy holding a board of mosaic tiles probably at a workshop. Article begins: A unique mosaic pavement is to become part of the tapestry of the restored Rosalind Park. Students from three of Bendigo's central primary schools are taking part in the project. Photo Caption reads ART at work: preparing to create the unique mosaic pavement in Bendigo's Rosaling Park is eight year old St Killians Primary School student, David Nicholds. 3858.9b A newspaper coloured photo from the poppet head of two young people standing on and looking down on the mosaic at the lookout. Caption reads: Passing students take a keen interest in the new-look base of the Rosaling Park poppet head. The mosaic was created through an Art Bendigo project. LEAP workers helped install the five sections using stone tiles made by local primary school students. Depicting the saddle reef formations in the area the work has been designed and created by Bendigo artise Maery Hall. Picture: Peter Hyett. 3858.9c A photo from the poppet head lookout looking down at a worker with a broom, sweeping the mosaic. 3858.9d Two women crouching on the ground viewing the work done on the mosaic. One woman holds books and papers; in the far background over the car-park is the Sacred Heart Cathedral, the Bendigo Art Gallery and the Capital Theatre. 3858.9e Newspaper article along with coloured photo of the poppet head lookout in Bendigo's Rosalind Park. In the foreground are two young people arranging the mosaics. The article begins: Mosaic pavements began taking shape at the base of the Rosaling Park poppet head lookout yesterday. The pavement will cover about 130 square metres, in five sections, and have been designed as a memorial to Bendigo's mining history and traditions. 3858.9f Newspaper article July 29, 1997 entitled 'Bendigo Paving the Way' - photo of artist Maery Gabriel at the official opening of the heritage mosaic. Pictures: Tania Bond. Photo of Maery taken from the poppet head looking down on the mosaic. Als a smaller photo with details of the mosaic design. Opening paragraphs of the artical: Arts Bendigo and the City of Greater Bendigo are paving the way to an improved Rosalind Park with the official opening of the 'Bendigo Heritage Mosaic'. The mosaic is more than 100 square metres of decorated pavement sections surrounding the poppet head lookout at the park. The paving was designed by mosaic artist Mary Gabriel and depicts Bendigo's mining history and colour throughout.

Taken 1905 by photograph W.D Gibbons the photograph depicts a pathway leading to the administration building of the Beechworth Mental Asylum. There are three well-dressed young men lounging on the grass as another is jumping behind them. This is significant as it demonstrates that the asylum was not a prison and that the mentally ill patients were allowed their freedom. The Beechworth 'Lunatic' Asylum was constructed between 1864 and 1867 to the designs by the Public Works Department (PWD) and was later renamed the Mayday Hills Mental Asylum. The decommissioned asylum was one of the largest psychiatric hospitals in Victoria and consisted of sixty-seven buildings, one thousand two hundred patients and five hundred staff members. At the asylum, active work was considered imperative and workshops were located near the male accommodations and laundries and drying yards near the female accommodation. The administration building itself highlights the architectural and aesthetic significance of the asylum to the State of Victoria. This photograph is historically significant as it demonstrates the architectural and aesthetic significance of the asylum but also the changing approaches to treating mental health. Black and white rectangular photograph printed on matte photographic paper mounted on grey cork Obverse: W.D Gibbon/ Beechworth Reverse: 79.1701beechworth, beechworth lunatic asylum, beechworth mental hospital, mayday hills, mayday hills mental hospital, asylum, administration building, wd gibbon, photograph

This photograph taken c1999/2000, depicts the Burke Museum’s granite façade and vestibule entrance. The museum's large red door is closed and there is a white sign is attached to the door. The museum site dates to the 1857 founding of the Beechworth Public Library and Athenaeum by a newly formed Young Men's Association (YMA). In 1863 the museum was dedicated as a memorial to former Beechworth police superintendent (1854-1858) and explorer Robert O’Hara Burke, following Burke’s death from malnutrition on the Burke and Wills expedition in 1861. Funded by the Victorian Government and the Royal Society of Victoria, the officially titled 'Victorian Exploring Expedition' was tasked with being the first European party to traverse Australia from south to north. The Burke Museum holds objects from the famous expedition and explores the multi-layered history of Beechworth and surrounds from the gold rush era to the present.This photograph is historically significant for its depiction of the Burke Museum c1999/2000. The Burke Museum is Australia’s oldest regional museum and part of Beechworth's Historic and Cultural Precinct, one of Australia’s best preserved historic-town sites and a popular tourist destination. Once the government centre for a vast gold fields region, this collection of nationally significant buildings tells the story of how Australia grew and prospered. The frequent use of honey-coloured local granite as a building material, which can be seen in the museum's fabric, gives Beechworth’s historic buildings a distinct and cohesive local character. This photograph captures this distinctive character and may be compared and studied alongside other images of historic buildings in the Burke Museum Photographic Collection.Rectangular colour photograph printed on photographic paper.Reverse: 7031 / Label: Burke Museum / 1999/2000 /burke museum, indigo shire, beechworth athanaeum, beechworth library, beechworth historic building, historic precinct, burke museum exhibition, from the liedertafel to the skating rink, honey-coloured local granite, robert o'hara burke, victorian gold fields, historic towns in victoria, colonial australia, liedertafel, colonial entertainments, beechworth brass band, historic victorian architecture, australia's oldest regional museum, burke and wills expedition, first europeans to cross australia, yound mens associations, beechworth tourism, things to see in beechworth, beechworth historic trail, young men's associations

Panning dishes were used for washing fine gold from river sediments or from the residue trapped in cradles and puddling tubs. They were often used on the edge of streams/rivers to sift gold from alluvial soil or crushed quartz. This simple pan would have been filled with sand and gravel which might have contained gold. The pan was submerged in the water and shaken to sort the gold from the gravel and other material, with the lighter material gradually being washed over the lip until only the heavy deposits, such as gold, remained at the bottom. (ref. Museum Victoria) This pan was used by George Henry Douglas Russell Snr. As a young man prior to his enlistment in WW1 he panned for gold using this dish. During the war he became a vet sergeant in charge of horse lines.Gold panning is the oldest and simplest method of extracting gold. Gold pans had widespread use in alluvial gold fields where water is available. This item is an example of the type of pan commonly used on Victorian gold fields.A circular dull metal panning dish which has a wide rolled top lip which tapers down to a smaller diameter for the base which is flat. The pan has been made from ironmetal which has a coating of another metal with a matte grey finish. It has a small hanging hole and a reinforcing ring all around the top.russell-doug gold-panning mining

Taken on an unknown date, depicted is a portrait of a young, unidentified male soldier. He is dressed in an Australian military uniform. It is believed that this soldier was part of The Australian Imperial Force during World War I. This can be inferred by the chevron rank insignia visible on the uniform. The placement of this insignia on the sleeve of the right arm suggests that this soldier was either a Warrant Officer or a Non-Commissioned Officer (NCO). Specifically, the number of chevron stripes - here, there are three - are believed to signify a Sergeant ranking. The man in this photograph is also wearing a 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular postcard printed on card.Reverse: CARD / JAS.C.CRADDEN, / 182 PITT ST, SYDNEY. / Cecil Johnson / BMM2640.1 /military album, wwi, world war i, postcard, australian army, australian imperial force, aif, sergeant, warrant officer, non-commissioned officer, portrait

Taken on an unknown date, depicted is a full-length portrait of a young, unidentified male soldier. He is dressed in an Australian military uniform. It is believed that this soldier was part of The Australian Imperial Force during World War I. This can be inferred by the chevron rank insignia visible on the uniform. The placement of this insignia on the sleeve of the right arm suggests that this soldier was either a Warrant Officer or a Non-Commissioned Officer (NCO). Specifically, the number of chevron stripes - here, there are two - are believed to signify a Corporal rank. The man in this photograph is also wearing a 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Black and white rectangular postcard printed on card.Reverse: Mendelssohn & Co., / Swanston St., Melbourne / POST CARD / KODAK / CORRESPONDENCE / ADDRESS ONLY / AUSTRAL / AUSTRAL / KODAK / BMM 2640.3 /military album, world war i, wwi, corporal, portrait, soldier, australian imperial force, aif, postcard, uniform

Taken on an unknown date, depicted is a portrait of a young, unidentified male soldier. He is dressed in an Australian military uniform. It is believed that this soldier was part of The Australian Imperial Force during World War I. This can be inferred by the chevron rank insignia visible on the uniform. The placement of this insignia on the sleeve of the right arm suggests that this soldier was either a Warrant Officer or a Non-Commissioned Officer (NCO). Specifically, the number of chevron stripes - here, there are two - are believed to signify a Corporal rank. The man in this photograph is also wearing a 'Rising Sun' collar badge on his coat. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Sepia rectangular postcard printed on card.Reverse: BMM 2640.4 / P RD / Write here for Inland Postage on /military album, aif, australian imperial force, corporal, war, wwi, world war i, rising sun, badge, uniform, military

Extinction Rebellion protest mural painted on the western wall of Platform 3095 cafe facing the railway station Prior to September 2016 a grouping of five trees were planted in the small garden bed on the western end of the cafe in two groups either side of the traffic sign which at that stage was the taller By October 2017 the five trees had doubled in height to about 1m above the roof line By April 2018 the trees were all about 2m above the roof line By August 2019 all five trees had been cut down and the wall was a mixture of paint patches from ongoing graffitti attacks By January 2020 the wall had been adorned with this mural which appears to have discouraged ongoing graffitti attacks but its message is tinged with irony that five healthy young trees were removed fay bridge collection, 2020-01-29, eltham, platform 3095, extinction rebellion

The back of the photo is inscribed "To dear Lizzie with love and best wishes from Nellie, Xmas 1911" - Lizzie being Elizabeth Ann Shillinglaw, daughter of Phillip and Sarah Shillinglaw born 1879. The woman in the photo appears to be aged approximately 40 years and is dressed and with a hair style typical of the fashion of 1911. This would make her birth year around the early 1870s. The only Nellie present in the family tree as currently understood is Helen (Nellie) Lyon born 1897 who came to Eltham from Mildura with her mother and brothers in 1913. She married Arthur Edward Bird however she is a generation younger and the dates do not fit. The only other known Nell is Ellen May Bird, daughter of George and Janet Bird, born 1892 so she too is a generation too young. "To dear Lizzie with love and best wishes from Nellie, Xmas 1911" on reversemarg ball collection, 1911, elizabeth (lizzie) ann shillinglaw (1879-1972), female shillinglaw 1, nellie, unknown

ESCAPE TO ELTHAM traces the family of John and Anna Lane who lived in Shanagolden in County Limerick during the early and middle parts of the 1800s. They lived during a time of conflict and famine. This story follows the movements of their son, Richard, and daughter, Anne, who migrated to Australia. The marriage of Anne to Tobias Butler and Richard's life establishing his farm on the Yarra River in the 1850s are explored. Marriage, children, deaths and a murder in 1861 are changes forced on the family. Richard's son, Patrick, marries a young Bridget Carrucan but when the global recession of the 1890s decimates Patrick's businesses he heads to the arid Western Australian goldfields to 'make his fortune'. The large family follows and settles in Boulder where the behaviour of a couple of the boys gets them into scapes with the law. This story celebrates the tenacity of a family whose members left adversity in Ireland hoping for a kinder life in Australia.john lane, anna lane, richard lane, patrick lane, bridget carrucan

Vol. 5, No. 6 (5), Summer Issue 2000 CONTENTS John Perceval and Helen Daniel 2 Two who served their communities well Gateway Sculpture Project 3 New public art in Manningham The Artary Project 5 Getting onto the net Tucker: Australian Gothic 6 Albert and Barbara Tucker's gift to Australia Short Story 8 Learning Curves Interview 10 Elizabeth James on drawing Open Studios 12 40 artists welcome the public Banyule Youth Awards 18 Support for emerging young artists Not Just a Pretty Place 20 Nillumbik art in Public Places CD Reviews 22 Book Reviews 23 Australian Classical Music 24 Elizabeth Scarlett Theatre Reviews 25 Artin About 26 Wining & Dining 30 Book Review 32 Artist's Services 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, public art, sentinal, river peel, manningham, artary project, plenty views golf park, albert tucker, barbara tucker, kinglake gallery, bulleen art & garden centre, st andrews gallery, steve flanagan, eltham wiregrass gallery, elizabeth james, willy wonka's ice cream gourmet food, nillumbik artists' open studios, accadia ceramics, alan martin, alan sartori, attunga, veronica holland, leanne mooney, sally nihill, bend of islands, michael skewes, elizabeth vercoe, creek house studio, syd tunn, ona henderson, chris pittard, mary lou pittard, diamond creek living & learning centre, drew gregory, jane annois, jane trikojus, jenni mitchell, grace mitchell, mervyn hannan, girraeen studio, jill forrest, kangaroo studios, peter burns, jules burns, muddy waters studio, nel ten wolde, overbank end, kay steventon, kim tarpey, reg cox, robert phillips studio, stained glass studio, shan shnookal, matthew holderness, ray macminn, jane viola, john hewish, open pottery studios, linda detoma, judith roberts, cassandra tobias, christian benetto, kevina-jo smith, julianne piko, hugh crosthwaite, sarah slater, peter doyle, stuart sinclair, carly young, lenister farm, not just a pretty place, kangaroo house, dynamic vegies, old bakery cottage bookshop, nick charles, felicity nottingham, michael mcgirr, eltham little theatre, heidelberg theartre company, montsalvat, recherche, ken eckerall, thompsons pharmacy, st andrews market, 2000 banyule young artists award, heide museum of modern art

Series consists of documentation and photographs relating to: . the 1986 Banner Project . the Beacons Around Australia 1988 project . A celebration of the interaction of young people in the Shire with Community Arts (c. 1991/93) which includes photographs and/or documentation on the making of the Environmental Mural, the making of the Orchid Banner, and the Treasure Tree Project . Eltham Arts Countil Correspondence 1959 (re hall hire) . Lenister Farm Community Arts Office and Staff 1993 . Launch of Community Arts and Engineering Project - Bus Shelter and Notice Board, Lower Eltham, designed by Glen Birrell (wearing yellow shirt in colour snapshots), photographs 1993 . Hand-Held History, April 1992 - an exhibition of art and craft by older people at Metzner Hall, Eltham. Folder with photographs of exhibits, sample of official badge, visitors book Folders include many colour snap shots of activities.shire of eltham archives, series listing

ACRONYMS: The name of the organisation is Australian Trust for Conservation of Nature (ATCV) from 1981 to 1999 and Conservation Volunteers Australia (CVA) from 2000 onwards.............................................Last used in 1999 the Echidna logo was used for 17 years. It was designed by John Zulic, then a young graphic designer at Sovereign Hill Outdoor Museum in Ballarat, and by 2010 the longest serving employee. John was briefed by Peter Hiscock, then director of Sovereign Hill and also President of ATCV, in 1982 to design ATCV’s first logo. Through the image of the echidna John Zulic tried to capture a unique Australian identity (a combination of uniqueness, strength, resilience, role in a balanced habitat and a national feel) for a fledgling local group with big plans. John presented concept to Tim Cox and Peter Hiscock – both were enthusiastic: the rest is history. For many years newly arriving volunteers were photographed with the mascot.The echidna was synonymous with ATCV for many years. The logo appeared on team vehicles and buses and on all publications until 2000. For many years new volunteers had their photograph taken with "Eddy". Even today overseas visitors to CVA's head office clamour to be photographed with it.This item is a taxidermal (preserved and stuffed) echidna. The echidna is an Australian marsupial animal resembling the porcupine or hedgehog found in other continents. It is a nocturnal, burrowing, egg-laying mammal of the genera Tachyglossus and Zaglossus of Australia, Tasmania, and New Guinea, having a spiny coat, slender snout, and an extensible sticky tongue used for catching insects. NOTE: The provenance of this item is not yet established but it has been the unofficial "mascot" of ATCV/CVA from soon after foundation till the present.australian, echidna, mascot, logo, wildlife

Pipe smoking has been in vogue for centuries, and in Australia it was a symbol of the "discerning smoker" such as the landed gentry or men of professional status. This pipe, of the cherrywood style, would have suited the young professional of the mid and late 1900s. It is the type of pipe well suited to the rural backdrop. In the late 1900s, with the health related restrictions placed on public smoking these tobacco pipes were not immune from the legislation, and even though the pipe smoke was not as offensive as cigarette smoke it still came under the umbrella of smoking. Pipes were also used in the process of inhaling illicit drugs i.e. marijuana, but this use was limited to a very few. Smoking in the second millennium is being phased out as a social habit in Australia but may affect the few "private" smoker and has, as the United States prohibition era (alcoholic drinks) did, spawn an illicit trade in cheap contraband tobacco.This type of pipe lends itself well to the rural setting of the Kiewa Valley and although it is a bit bulky in shape its wooden barrel blends into the environment. The Kiewa Valley region was up until the late 1900s part of the Australian Tobacco Industry and the levels of men smoking pipes was enhanced by the readily supply of, "off the fields", tobacco leaves.This pipe has a bent stem and its style is cherrywood. The pipe has a permanent filter and a narrow tin band. The bowl is well pronounced (curved both top and bottom). The stem screws into the bowl , mid way up the bowl (similar to KVHS 0424 and KVHS.0425) and the stem is also made from bakelite (dark brown in colour). tobacco, pipe smoking, smoking accessories

Pipe smoking has been in vogue for centuries, and in Australia it was a symbol of the "discerning smoker" such as the landed gentry or men of professional status. This pipe, of the cherrywood style, would have suited the young professional of the mid and late 1900s. It is the type of pipe well suited to the rural backdrop. In the late 1900s, with the health related restrictions placed on public smoking, these tobacco pipes were not immune from the legislation, and even though the pipe smoke was not as offensive as cigarette smoke it still came under the umbrella of smoking. Pipes were also used in the process of inhaling illicit drugs i.e. marijuana, but this use was limited to a very few. Smoking in the second millennium is being phased out as a social habit in Australia but may affect the few "private" smoker and has, as the United States prohibition era (alcoholic drinks) did, spawn an illicit trade in cheap contraband tobacco.This type of pipe lends itself well to the rural setting of the Kiewa Valley and although it is a bit more bulky in shape its wooden barrel blends into the environment. The Kiewa Valley region was up until the late 1900s part of the Australian Tobacco Industry and the levels of men smoking pipes was enhanced by the readily supply from "off the fields", of tobacco leaves.This pipe has a bent stem and its style is cherrywood. The pipe has a permanent filter and a narrow tin band. The bowl is well pronounced (curved both top and bottom). The stem screws into the bowl , mid way up the bowl (similar to KVHS 0423 and KVHS.0425 and the stem is also made from bakelite (dark brown in colour). This stem is the same length as KVHS 0425 but the bit (mouth piece) has a gentler curve.tobacco, pipe smoking, smoking accessories

Pipe smoking has been in vogue for centuries, and in Australia it was a symbol of the "discerning smoker" such as the landed gentry or men of professional status. This pipe, of the cherrywood style, would have suited the young professional of the mid and late 1900s. It is the type of pipe well suited to the rural backdrop. In the late 1900s, with the health related restrictions placed on public smoking these tobacco pipes were not immune from the legislation, and even though the pipe smoke was not as offensive as cigarette smoke it still came under the umbrella of smoking. Pipes were also used in the process of inhaling illicit drugs i.e. marijuana, but this use was limited to a very few. Smoking in the second millennium is being phased out as a social habit in Australia but may affect the few "private" smoker and has, as the United States prohibition era (alcoholic drinks) did, spawn an illicit trade in cheap contraband tobacco.his type of pipe lends itself well to the rural setting of the Kiewa Valley and although it is a bit more bulky in shape its wooden barrel blends into the environment. The Kiewa Valley region was up until the late 1900s part of the Australian Tobacco Industry and the levels of men smoking pipes was enhanced by the ready supply, "off the fields", of tobacco leaves and the attitude to city based smoking restrictions was one of resentment.. This pipe has a bent stem and its style is cherrywood. The pipe has a permanent filter and a narrow tin band. The bowl is well pronounced (curved both top and bottom). The stem screws into the bowl , mid way up the bowl (similar to KVHS 0423 and KVHS.0424) and the stem is also made from bakelite (dark brown in colour). This stem is the same length as KVHS 0055.001 but the bit (mouth piece) has a gentler curve.tobacco, pipe smoking, smoking accessories

A young chemist named Dr. Cyril P Callister, hired by the Fred Walker Company, developed a new spread from brewer’s yeast. It was claimed as the richest known sources of natural Vitamin B. Labelled as ‘Pure Vegetable Extract’, it was sold in a two ounce amber glass jar and capped with what was known as a Phoenix seal, to keep the contents fresh. A competition inviting the Australian public to create a name for the new spread offered a prize of 50 pounds. finalists. Hundreds of people entered and Fred Walker’s daughter selected the winning name: VEGEMITE. The name of the winning entrant was never placed on record. VEGEMITE spread was then sold from grocers’ shelves. In April 1984, a 115-gram jar of vegemite became the first product in Australia to be electronically scanned at a checkout A commemorative jar was produced to celebrate the occasion of 70 years - 1922-1997.Vegemite is possibly Australia's most iconic food brand. Since the 1930s it has been a major part of this country's cuisine. Yet unlike other Australian icons the attraction of Vegemite has remained local. A tapered brown glass jar with a gold metal lid. The label o the front is red with yellow, white and black print. there is a similar smaller label on the lid. with black writing.On base: a spiral with 10 in centre circle 13573 underneath the spiral above is letter A with raised dots insidevegemite jar

This toolbox was part of the equipment of the coastal trader Reginald M. It is typical of general-purpose toolboxes of the early 20th century. The covering of pitch on the outside was likely to be a form of waterproofing and protection. The vessel “Reginald M” was a two-masted coastal ketch, owned and built by Mr Jack (John) Murch of Birkenhead, Port of Adelaide, South Australia. Its construction took approximately 6 months and it was launched at Largs Bay in 1922. The vessel had many owners and adventures over the years until it was purchased by Flagstaff Hill Maritime Museum & Village in 1975. It was then used as an active display until 2016. Visitors could go aboard, turn the ship's wheel, go below deck and get the feel of the captain's quarters, sailors' quarters and the storage space available. The Reginald M was a popular exhibit for young and old, until 2016.This toolbox is significant because of its connection to the history of the vessel REGINALD M, the coastal trading ketch from South Australia built in 1922 and in existence until 2016. Its flat bottom, single-chine shape illustrates a very simple but robust method of construction, compared to other round-bilged examples of trading vessels. The Reginald M is listed on the Australian Register of Historic Vessels (ARHV Number: HV000562.) Wooden toolbox with hinged lid covering tree-quarters of the box. A case handle is attached for carrying. Hook on one side but nothing to catch it on. Toolbox has been covered with pitch on the outside. flagstaff hill, warrnambool, reginald m, flagstaff hill maritime museum & village, shipwreck coast, maritime museum, coastal trader, ketch, john murch, sailor's equipment, ship maintenance, wooden toolbox, toolbox

This bottle has come from the aerated waters factory of John Fletcher of Warrnambool. This factory in Koroit Street was established in the mid 19th century by John Davis. As a young boy John Fletcher worked at the cordial factory of John Rowley in Banyan Street, Warrnambool and then worked for a number of years for John Davis at his Union Cordial Factory. In 1885 John Fletcher succeeded John Davis and continued in this business until 1930. The business was then taken over by Ralph Reeves. John Fletcher manufactured aerated waters, soda, tonic waters, lemonade, ginger ale, hop beer, hop bitters, sarsaparilla and cordials. The bottle would have been sealed with a cork stopper. The torpedo shape of the bottle would ensure that it was stored on its side, keeping the cork moist so that it didn't shrink and cause the bottle to leak its contents.The bottle is significant for its unusual torpedo shape and for being sold by the long standing John Fletcher's soft drink business in Warrnambool who was a prominent soft drinks manufacturer in Warrnambool for over 40 years.Torpedo shaped green glass bottle, name of manufacture of contents, John Fletcher Late and J. Davis, of Koroit St Warrnambool, is impressed in the glass."John Fletcher Late and J. Davis Koroit St Warrnambool"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, torpedo shaped glass bottle, torpedo bottle, bottle, john fletcher late and j. davis koroit st warrnambool, john fletcher late and j. davis, john fletcher late, j. davis

World War 1 1914-18 affected most families in Moorabbin Shire with large numbers of young men enlisting in the Australian Infantry Force. Alonzo Sheldrake Box , a pavier of Oakleigh, Victoria served at Gallipoli, France and Somme . When he returned home Oakleigh, like many Australian Towns, celebrated his safety and courage by presenting him with this Gold Medal. Each town also mourned the loss of so many soldiers and collected money from the residents to build War Memorials on which were engraved the names of the deceased soldiers. Alonzo Sheldrake Box (1851 - 1958) was the nephew of William and Elizabeth Box who lived in Box Cottage , East Brighton - now Ormond -. He married Mary Louisa Closter on June 12th 1918 at Holy Trinity, Church of England, Oakleigh.Alonzo Box was the son of John Box, who migrated from Sussex, England with his brother William Box c1855 , and established a market garden in East Brighton that was part of the Henry Dendy ' Special Survey Brighton 1841'A gold metal medal with top crest , 2 attachment rings, engraved on both sides presented to Alonzo Sheldrake Box 'For God King and Country. Aus. 1914 'Front ; outer circle - FOR GOD KING AND COUNTRY AUS. 1914 inner circle - tableau of a woman, rising sun and fighting soldiers Back : outer circle - PRESENTED BY THE CITIZENS OF OAKLEIGH centre - IN / RECOGNITION OF / SERVICE RENDd./ A.S.BOX / AIF / laurel wreathworld war 1914-18, moorabbin shire, early settlers, pioneers, box alonzo, box william, australian military medals, anzac, gallipoli, sheldrake martha, box elizabeth, box mary louisa, closter mary, war memorials, wedding dress, box john, viloudakia - box rebecca,

"It has been decided by the managing body of St. John's Church of England to erect a war memorial to commemorate the thirty brave men of the congregation who have given their lives at the front, and the 98 men whom they expect to welcome home again. The memorial will cost from £250 to £300 to complete in its entirety, and active steps have been taken to raise the amount amongst the members and adherents of the church. ... The sanctuary panels will be placed on each side of the altar, and will become the permanent Honor Roll by having the names of the soldiers and nurses who enlisted from the congregation inscribed thereon.The whole scheme when completed will be a noble monument to the loyalty, response to duty, and self-sacrifice of the members of the church who enlisted, and will in years to come remind the worshippers of the response of the young members of the congregation to the call of our Empire in her great need. (Camperdown Chronicle, 20 March 1919) LocationPhotograph of a timber World War One Honour Board at St John's Anglican Church, Colac. Plaster 'Station of the Cross' on either side of the honour board are by Mattei brothers. st john's colac, colac, world war one, world war one honour board, mattei brothers

Else Oertel and her daughter Else-Lore were interned in Camp 3A from 1940. Her husband was not interned as he was on a business trip to Germany when war broke out. The doll, named Karl by Else-Lore, was hand-carved by internee Alfons Koenig. Friedel Dehnel "Tante Fiffi" made the authentic Bavarian clothes. Friedel, wife of Walter Dehnel, arrived as a young woman from Austria, working in the Victorian snowfields as a chef and was a champion skier. She then became a dressmaker for Melbourne society and insisted that she be interned to be with her husband. She made costumes for the internment camp plays and took over her husband's duties as a cook for Camp A when he was locked up for "insubordination". She was deported with her husband back to Germany after the war and cared for her orphaned nephews and nieces in Garmisch-Partenkirchen. Body, head, arms and legs carved from wood. Blue eyes, yellow hair, pink lips and skin all hand painted. Wearing a grey crochet hat with orange feather and grey crochet jacket with two metal buttons. Jacket and hat have green trim. Grey felt shorts with leather braces and green trim. White shirt and tan color tie. White socks and brown leather sandals.doll, alfons koenig, camp 3, internee, oertel family, else oertel, friedel dehnel, else-lore hukins, dressmaker, costumes, plays, chef

Alan Martin studied under Max Meldrum, at the National Gallery School and the Royal Melbourne Institute of Technology. He later established his own art school. He has won several prizes and is represented in several provincial collections. Alan Marshall was the author of more than fifteen books, and lived much of his life in Eltham. He became a central figure in the area's arts community of writers, artists, sculptors, film makers, actors and musicians. He contracted polio when he was young is considered one of Australia's most successful and loved authors. His most famous book, 'I Can Jump Puddles' is based on his life story and the obstacles he faced as a child in trying to overcome his disability. The portrait of Alan Marshall was exhibited as a finalist at the 1956 Archibald Prize.