Fortuna Villa was initially commenced as a modest single storey home in 1861 next to the 180 Mine by Theodore Ballerstedt, who sold the mine and house to George Lansell in 1869. Lansell already owned the adjacent Fortuna Mine, and through deeper mining techniques greatly expanded the mine's operation, his personal wealth, and the house and grounds. Lansell was soon known as the 'Quartz King', Australia's first gold mining millionaire and credited as the driving force behind much of Bendigo's prosperity. He continuously added to and expanded the villa, decorating it extravagantly with the finest of artworks and materials, into a sprawling mansion with extensive landscaped grounds, to create a house and grounds of a size and grandeur with few rivals in Australia. After his death in 1907, his second wife Edith carried on with improvements, creating a house and grounds developed over 50 years. The attached mine also contributes to its significance, being one of the richest mines in Bendigo, and at one stage probably the deepest gold mine in the world at 3176 feet. The 1875 crushing works are attached directly to the mansion, and the mine's tailings and settling ponds (turned into ornamental lakes) represent a direct link between George Lansell's wealth and its source. Fortuna was compulsorily acquired by the Commonwealth in 1942 as the Cartographic Headquarters of the Australian Survey Corps during World War II, and many ancillary structures were added while preserving the main house and ornamental grounds. Victorian Heritage Database Report https://vhd.heritagecouncil.vic.gov.au/places/68334/download-reportPreliminary report of Structural assessment of Building 16 Fortuna Complex, Chum Street, Bendigo. Four page preliminary report finding the building is structurally safe as at Wed 19 December 2007 with three recommendations. Prepared for DIGO by Structural Engineers - Terry Stevens Consulting Engineers Pty Ltd.fortuna, structural assessment

Fortuna Villa was initially commenced as a modest single storey home in 1861 next to the 180 Mine by Theodore Ballerstedt, who sold the mine and house to George Lansell in 1869. Lansell already owned the adjacent Fortuna Mine, and through deeper mining techniques greatly expanded the mine's operation, his personal wealth, and the house and grounds. Lansell was soon known as the 'Quartz King', Australia's first gold mining millionaire and credited as the driving force behind much of Bendigo's prosperity. He continuously added to and expanded the villa, decorating it extravagantly with the finest of artworks and materials, into a sprawling mansion with extensive landscaped grounds, to create a house and grounds of a size and grandeur with few rivals in Australia. After his death in 1907, his second wife Edith carried on with improvements, creating a house and grounds developed over 50 years. The attached mine also contributes to its significance, being one of the richest mines in Bendigo, and at one stage probably the deepest gold mine in the world at 3176 feet. The 1875 crushing works are attached directly to the mansion, and the mine's tailings and settling ponds (turned into ornamental lakes) represent a direct link between George Lansell's wealth and its source. Fortuna was compulsorily acquired by the Commonwealth in 1942 as the Cartographic Headquarters of the Australian Survey Corps during World War II, and many ancillary structures were added while preserving the main house and ornamental grounds. Victorian Heritage Database Report https://vhd.heritagecouncil.vic.gov.au/places/68334/download-reportTicket for Fortuna Villa Tour conducted by the Army Survey Regiment and the National Trust. 31/12/1985. Black printing on yellow card.fortuna villa, tour

Fortuna Villa was initially commenced as a modest single storey home in 1861 next to the 180 Mine by Theodore Ballerstedt, who sold the mine and house to George Lansell in 1869. Lansell already owned the adjacent Fortuna Mine, and through deeper mining techniques greatly expanded the mine's operation, his personal wealth, and the house and grounds. Lansell was soon known as the 'Quartz King', Australia's first gold mining millionaire and credited as the driving force behind much of Bendigo's prosperity. He continuously added to and expanded the villa, decorating it extravagantly with the finest of artworks and materials, into a sprawling mansion with extensive landscaped grounds, to create a house and grounds of a size and grandeur with few rivals in Australia. After his death in 1907, his second wife Edith carried on with improvements, creating a house and grounds developed over 50 years. The attached mine also contributes to its significance, being one of the richest mines in Bendigo, and at one stage probably the deepest gold mine in the world at 3176 feet. The 1875 crushing works are attached directly to the mansion, and the mine's tailings and settling ponds (turned into ornamental lakes) represent a direct link between George Lansell's wealth and its source. Fortuna was compulsorily acquired by the Commonwealth in 1942 as the Cartographic Headquarters of the Australian Survey Corps during World War II, and many ancillary structures were added while preserving the main house and ornamental grounds. Victorian Heritage Database Report https://vhd.heritagecouncil.vic.gov.au/places/68334/download-reportProposal for the formation of a Fortuna Commission to ensure the preservation of Fortuna Villa. Written by Daryl McClure. May 2012fortuna villa, preservation, daryl mcclure

Fortuna Villa was initially commenced as a modest single storey home in 1861 next to the 180 Mine by Theodore Ballerstedt, who sold the mine and house to George Lansell in 1869. Lansell already owned the adjacent Fortuna Mine, and through deeper mining techniques greatly expanded the mine's operation, his personal wealth, and the house and grounds. Lansell was soon known as the 'Quartz King', Australia's first gold mining millionaire and credited as the driving force behind much of Bendigo's prosperity. He continuously added to and expanded the villa, decorating it extravagantly with the finest of artworks and materials, into a sprawling mansion with extensive landscaped grounds, to create a house and grounds of a size and grandeur with few rivals in Australia. After his death in 1907, his second wife Edith carried on with improvements, creating a house and grounds developed over 50 years. The attached mine also contributes to its significance, being one of the richest mines in Bendigo, and at one stage probably the deepest gold mine in the world at 3176 feet. The 1875 crushing works are attached directly to the mansion, and the mine's tailings and settling ponds (turned into ornamental lakes) represent a direct link between George Lansell's wealth and its source. Fortuna was compulsorily acquired by the Commonwealth in 1942 as the Cartographic Headquarters of the Australian Survey Corps during World War II, and many ancillary structures were added while preserving the main house and ornamental grounds. Victorian Heritage Database Report https://vhd.heritagecouncil.vic.gov.au/places/68334/download-reportConservation report for the Pompeii Fountain & Adjacent Structures at "Fortuna" Chum Street, Golden Square, Victoria. Prepared for Fortuna Historical Committee. March 1996.Halina Eckersley, Architect & Conservation Planner, Kewpompeii fountain, greenhouse, fortuna lake, gardens

SSet of 16 The Met timetables, diagrammatic map, major stops and contact details. All dated May 1993 unless noted otherwise. 1 - Route 3 - East Malvern - City with a note that route 377 bus service replaces trams on Sunday. 2 - Route 5 - Malvern (Burke Rd) - City 3 - Route 6 - Glen Iris - City 4 - Route 8 - Toorak - City 5 - Route 10 - Sth Melbourne Beach and St Kilda Beach - West Preston 6 - Route 19 - North Coburg - City with a note that route 319 bus service to Gowrie and Upfield was included - ran Saturday afternoons and Sundays only. 7 - Route 42 - Mont Albert - City 8 - Route 48 - North Balwyn - City 9 - Route 55 - West Coburg - Domain Road interchange - with a note that route 68 operates via Elizabeth St on Sunday. 10 - Route 57- West Maribyrnong - City - with a note that route 357 bus services replaces trams on Sunday 11 - Route 59 - Airport West - City 12 - Route 64 - East Brighton - City 13 - Route 69 - Kew (Cotham Rd) - St Kilda Beach via Glenferrie Road 14 - Route 70 - Wattle Park - Princes Bridge 15 - Route 72 - Camberwell - City 16 - Route 82 - Moonee Ponds - Footscray and that route 223 bus replaces trams on Saturday afternoons and all day Sunday,Yields information about some of The Met tram services May 1993Set of 16 The Met timetables, DL size, printed in two colours.timetables, the met, route 8, route 3, route 5, route 6, route 10, route 19, route 42, route 48, route 55, route 57, route 59, route 64, route 69, route 70, route 72, route 82

Contract of sale dated 14th December, 1959 between Messrs. K. R. & K. S. Johnson (vendor) and Mr. T. E. Turner (purchaser). Solicitor for vendor: Hyett, Willis & Hyett, Bull Street, Bendigo. Solicitor for purchaser: Tatchell, Dunlop, Smalley & Balmer, Williamson Street, Bendigo. Property 189-191 Mitchell Street, Bendigo, being land coloured red on the map in the margin of the title part of Crown allotment 8 section 51C, being land described in certificate f title volume 6511 folio 146, together with right of carriage way over the ponds coloured brown on the said map, and together with a right to use land coloured yellow on the said map for party wall purposes together with the use of the wall which was on the 11thOctober, 1905 standing on the said land coloured yellow. Price undisclosed. Attached: business card Hillier Parker, 6 hand written notes and drawing, 1 statement pursuant to section 34 of the estate agents act 1956, 1 cover note from the united insurance company, 2 copies of engagement or appointment in writing pursuant to section 33 of the estate agents act, 1956.organization, business, h.a. & s.r wilkinson real estate

Set of 9 MMTB Tram timetables, folded sheets, generally 10 sections, providing timetables for specific routes, day of week giving information on tram times at specific time points, route map, sections and fares and organisation address - 616 Little Collins St. Melbourne. All printed on yellow paper unless noted otherwise. .1 - Route 3 - East Malvern 3 - Bus Route Sundays Only, Feb. 1975 .2 - Route 5, 35 - Malvern - City .3 - Route 6, 7, 36 - Glen Iris - City .4 - Route 19, 18, 20 - North Coburg - City and Sundays only - Fawkner to Gowrie, Upfield - May 1975 .5 - Route 55, 56, 68 - West Coburg - City - Domain Road - May 1975 .6 - Route 57, 54, 60, 58 and 50 - West Maribyrnong - City - Feb. 1975 .7 - Route 64, 65, 62, 61 - East Brighton - City - June 1975 .8 - Route 66, 67 and 37 - Carnegie - City - June 1975 .9 - Route 82 - Footscray - Highpoint West - Moonee Ponds (Bus service Saturday afternoons and Sundays - November 1975. See Reg Item 2886 for a tramway check ticket for use on the Upfield line.trams, tramways, mmtb, timetables, melbourne, fares, upfield, bus replacement, route 3, route 5, route 6, route 7, route 18, route 19, route 20, route 35, route 36, route 37, route 50, route 54, route 55, route 56, route 57, route 58, route 60, route 61, route 62, route 64, route 65, route 66, route 67, route 68, route 82

"The theatre itself was located in a barn close to the village pond. Its location is indicated on the attached 1827 map of Hampton Wick and the Swan arrowed where tickets were to be had. The picture of Ye Swan around 1900 is probably not too dissimilar to how it would have looked in 1797. One of the regular patrons at the theatre is believed to have been William, Duke of Clarence (later King William IV, uncle of Queen Victoria). The Duke lived in Bushy House about a mile away from the village and was a known devotee of theatrical entertainments. The theatre had disappeared by 1865. It would have been a touring company who were playing on the night of 3 October 1797." ( information from Ray Elmitt, historian of Hampton Wick ) The doors were to be opened at 6 to begin precisely at 7 o'clock,. Boxes were 3 shillings, Pit seats were 2 shillings and seats in the gallery were 1 shilling. Tickets could be bought at the printing office in Kingston or from Mr Ansel of Adam and Eve in Kingston or from Mr Pattenden of the Swan in Hampton Wick. "First Love" is a 1795 sentimental comedy play by the British playwright Richard Cumberland. It was first performed at the Drury Lane Theatre in May 1795. Frederick Mowbray becomes the protector of Sabrina Rosny after her abandoment by Lord Sensitive. The Agreeable Surprise is a 1781 comic opera to music by Samuel Arnold and a libretto by John O'Keeffe. The work in two acts was first performed at the Theatre Royal, Haymarket (London), on 3 September 1781. It was one of the most performed works of its kind in London in the last quarter of the 18th century. In England the 18th century saw the flourishing of theatre as a popular pastime. Many theatres were enlarged and new playhouses built in London and the provinces. This item was kept as a souvenir / memento and brought to Australia by an early settler.A very old program from the Richmond Company at the Theatre Hampton-Wick. It is white with black print. There are two performances - First Love and The Agreeable Surprise. There is a cast list for each. theatre hampton-wick-richmond-company

Viewed from 101 Pitt Street looking across Nos. 96 and 98 Comparison photo: SEPP_0634 - Little Eltham from Pitt Street east of Stebbing’s cottage Part of a presentation by Peter Pidgeon to the Society, 13 August 2022 showcasing a series of photographs taken by John Henry Clark over the period 1895 to 1930. John Henry Clark was the youngest of three boys born to William Henry Clark (1823-1877) and Maria White (1843-1914). He and his brothers, William Charles Clark (1872-1945), Clement Kent Clark (1874-1912) operated a photography business (Clark Bros.) from 25 Thomas Street, Windsor near Prahran during the period c.1894 to 1914. Following death of Clement in September 1912 and their mother in 1914, the Clark Bros business appears to have dissolved, the premises demolished, and a new house was under construction in 1915. John set up business independently in 1914 operating out of 29 Moor Street, Fitzroy where he is registered in the 1914 and 1915 Electoral Rolls. By 1916 John had relocated to Eltham where he continued his practice as a photographer and took many of the early images around the district of Little Eltham. Around 1930 John changed professions and opened a small cobbler's shop in 1931 near the pond opposite Dalton Street adjacent to the Jarrold family cottage. He never married and continued his profession as a bootmaker from this little shop, maintaining a close relationship with Mrs Jarrold for the rest of their lives. His bootmaker shop remains today beside the Whitecloud cottage and is one of only three remaining shops in the area from the early 20th century.Comparative photo taken 2022 with one taken from same location over 100 years earlier by noted local photographer J.H. ClarkBorn Digitaleltham, j.h. clark photo (2022), pitt street

Viewed from 101 Pitt Street looking across Nos. 96 and 98 Comparison photo: SEPP_0634 - Little Eltham from Pitt Street east of Stebbing’s cottage Part of a presentation by Peter Pidgeon to the Society, 13 August 2022 showcasing a series of photographs taken by John Henry Clark over the period 1895 to 1930. John Henry Clark was the youngest of three boys born to William Henry Clark (1823-1877) and Maria White (1843-1914). He and his brothers, William Charles Clark (1872-1945), Clement Kent Clark (1874-1912) operated a photography business (Clark Bros.) from 25 Thomas Street, Windsor near Prahran during the period c.1894 to 1914. Following death of Clement in September 1912 and their mother in 1914, the Clark Bros business appears to have dissolved, the premises demolished, and a new house was under construction in 1915. John set up business independently in 1914 operating out of 29 Moor Street, Fitzroy where he is registered in the 1914 and 1915 Electoral Rolls. By 1916 John had relocated to Eltham where he continued his practice as a photographer and took many of the early images around the district of Little Eltham. Around 1930 John changed professions and opened a small cobbler's shop in 1931 near the pond opposite Dalton Street adjacent to the Jarrold family cottage. He never married and continued his profession as a bootmaker from this little shop, maintaining a close relationship with Mrs Jarrold for the rest of their lives. His bootmaker shop remains today beside the Whitecloud cottage and is one of only three remaining shops in the area from the early 20th century.Comparative photo taken 2022 with one taken from same location over 100 years earlier by noted local photographer J.H. ClarkBorn Digitaleltham, j.h. clark photo (2022), pitt street

View looking northwest across Bible Street to No 9 and beyond Comparison photo: SEPP_0633 -- Little Eltham viewed from Bible and Napoleon streets, c.1913 Part of a presentation by Peter Pidgeon to the Society, 13 August 2022 showcasing a series of photographs taken by John Henry Clark over the period 1895 to 1930. John Henry Clark was the youngest of three boys born to William Henry Clark (1823-1877) and Maria White (1843-1914). He and his brothers, William Charles Clark (1872-1945), Clement Kent Clark (1874-1912) operated a photography business (Clark Bros.) from 25 Thomas Street, Windsor near Prahran during the period c.1894 to 1914. Following death of Clement in September 1912 and their mother in 1914, the Clark Bros business appears to have dissolved, the premises demolished, and a new house was under construction in 1915. John set up business independently in 1914 operating out of 29 Moor Street, Fitzroy where he is registered in the 1914 and 1915 Electoral Rolls. By 1916 John had relocated to Eltham where he continued his practice as a photographer and took many of the early images around the district of Little Eltham. Around 1930 John changed professions and opened a small cobbler's shop in 1931 near the pond opposite Dalton Street adjacent to the Jarrold family cottage. He never married and continued his profession as a bootmaker from this little shop, maintaining a close relationship with Mrs Jarrold for the rest of their lives. His bootmaker shop remains today beside the Whitecloud cottage and is one of only three remaining shops in the area from the early 20th century.Comparative photo taken 2022 with one taken from same location over 100 years earlier by noted local photographer J.H. ClarkBorn Digitalbible street, eltham, j.h. clark photo (2022)

View looking northwest across Bible Street to No 9 and beyond Comparison photo: SEPP_0633 - Little Eltham viewed from Bible and Napoleon streets, c.1913 Part of a presentation by Peter Pidgeon to the Society, 13 August 2022 showcasing a series of photographs taken by John Henry Clark over the period 1895 to 1930. John Henry Clark was the youngest of three boys born to William Henry Clark (1823-1877) and Maria White (1843-1914). He and his brothers, William Charles Clark (1872-1945), Clement Kent Clark (1874-1912) operated a photography business (Clark Bros.) from 25 Thomas Street, Windsor near Prahran during the period c.1894 to 1914. Following death of Clement in September 1912 and their mother in 1914, the Clark Bros business appears to have dissolved, the premises demolished, and a new house was under construction in 1915. John set up business independently in 1914 operating out of 29 Moor Street, Fitzroy where he is registered in the 1914 and 1915 Electoral Rolls. By 1916 John had relocated to Eltham where he continued his practice as a photographer and took many of the early images around the district of Little Eltham. Around 1930 John changed professions and opened a small cobbler's shop in 1931 near the pond opposite Dalton Street adjacent to the Jarrold family cottage. He never married and continued his profession as a bootmaker from this little shop, maintaining a close relationship with Mrs Jarrold for the rest of their lives. His bootmaker shop remains today beside the Whitecloud cottage and is one of only three remaining shops in the area from the early 20th century.Comparative photo taken 2022 with one taken from same location over 100 years earlier by noted local photographer J.H. ClarkBorn Digitalbible street, eltham, j.h. clark photo (2022)

This section of Main Road was duplicated in 1968, from Pitt Street to Elsa Court. Generally speaking, the duplication was constructed on the western side. Comparison photo: SEPP_0626 Part of a presentation by Peter Pidgeon to the Society, 13 August 2022 showcasing a series of photographs taken by John Henry Clark over the period 1895 to 1930. John Henry Clark was the youngest of three boys born to William Henry Clark (1823-1877) and Maria White (1843-1914). He and his brothers, William Charles Clark (1872-1945), Clement Kent Clark (1874-1912) operated a photography business (Clark Bros.) from 25 Thomas Street, Windsor near Prahran during the period c.1894 to 1914. Following death of Clement in September 1912 and their mother in 1914, the Clark Bros business appears to have dissolved, the premises demolished, and a new house was under construction in 1915. John set up business independently in 1914 operating out of 29 Moor Street, Fitzroy where he is registered in the 1914 and 1915 Electoral Rolls. By 1916 John had relocated to Eltham where he continued his practice as a photographer and took many of the early images around the district of Little Eltham. Around 1930 John changed professions and opened a small cobbler's shop in 1931 near the pond opposite Dalton Street adjacent to the Jarrold family cottage. He never married and continued his profession as a bootmaker from this little shop, maintaining a close relationship with Mrs Jarrold for the rest of their lives. His bootmaker shop remains today beside the Whitecloud cottage and is one of only three remaining shops in the area from the early 20th century.Comparative photo taken 2022 with one taken from same location over 100 years earlier by noted local photographer J.H. ClarkBorn Digitaleltham, j.h. clark photo (2022), main road

View looking east from Bolton Street near Brougham Street, Eltham taken from PETStock looking over the industrial area of Eltham Comparison photo: 00188 Part of a presentation by Peter Pidgeon to the Society, 13 August 2022 showcasing a series of photographs taken by John Henry Clark over the period 1895 to 1930. John Henry Clark was the youngest of three boys born to William Henry Clark (1823-1877) and Maria White (1843-1914). He and his brothers, William Charles Clark (1872-1945), Clement Kent Clark (1874-1912) operated a photography business (Clark Bros.) from 25 Thomas Street, Windsor near Prahran during the period c.1894 to 1914. Following death of Clement in September 1912 and their mother in 1914, the Clark Bros business appears to have dissolved, the premises demolished, and a new house was under construction in 1915. John set up business independently in 1914 operating out of 29 Moor Street, Fitzroy where he is registered in the 1914 and 1915 Electoral Rolls. By 1916 John had relocated to Eltham where he continued his practice as a photographer and took many of the early images around the district of Little Eltham. Around 1930 John changed professions and opened a small cobbler's shop in 1931 near the pond opposite Dalton Street adjacent to the Jarrold family cottage. He never married and continued his profession as a bootmaker from this little shop, maintaining a close relationship with Mrs Jarrold for the rest of their lives. His bootmaker shop remains today beside the Whitecloud cottage and is one of only three remaining shops in the area from the early 20th century.Comparative photo taken 2022 with one taken from same location over 100 years earlier by noted local photographer J.H. ClarkBorn Digitaleltham, j.h. clark photo (2022), autobarn, bolton steet, industry, petstock eltham central, little eltham

View looking southeast from Hungry Jacks carpark over present-day Brisbane Street (formerly Bolton Street) to Bridge Street Comparison photo: 05424 Part of a presentation by Peter Pidgeon to the Society, 13 August 2022 showcasing a series of photographs taken by John Henry Clark over the period 1895 to 1930. John Henry Clark was the youngest of three boys born to William Henry Clark (1823-1877) and Maria White (1843-1914). He and his brothers, William Charles Clark (1872-1945), Clement Kent Clark (1874-1912) operated a photography business (Clark Bros.) from 25 Thomas Street, Windsor near Prahran during the period c.1894 to 1914. Following death of Clement in September 1912 and their mother in 1914, the Clark Bros business appears to have dissolved, the premises demolished, and a new house was under construction in 1915. John set up business independently in 1914 operating out of 29 Moor Street, Fitzroy where he is registered in the 1914 and 1915 Electoral Rolls. By 1916 John had relocated to Eltham where he continued his practice as a photographer and took many of the early images around the district of Little Eltham. Around 1930 John changed professions and opened a small cobbler's shop in 1931 near the pond opposite Dalton Street adjacent to the Jarrold family cottage. He never married and continued his profession as a bootmaker from this little shop, maintaining a close relationship with Mrs Jarrold for the rest of their lives. His bootmaker shop remains today beside the Whitecloud cottage and is one of only three remaining shops in the area from the early 20th century.Comparative photo taken 2022 with one taken from same location over 100 years earlier by noted local photographer J.H. ClarkBorn Digitaleltham, j.h. clark photo (2022), bolton steet, industry, bridge street, brisbane street, bunnings warehouse, hungry jacks, sherbourne road, wattyl paint centre

Jessie, known as Ma Barrie to her grandchildren, was the daughter of a school teacher. The family lived in various locations around Central Victoria, particularly Pastoria and Melton. When her father was Head Teacher at Melton State School no 430, she met her future husband, CE Barrie. Jessie May married Charles Ernest Barrie in the Methodist Church Melton on the 23rd August 1906. They lived in the newly built house beside the Chaff Mill on the corner of Station and Brooklyn road Melton South. In April 1910 the family moved to a farm in Trundle NSW. The Chaff Mill was sold to Glover Onians - HSK Ward. The family returned to Melton in 1911, buying the “Darlingsford” farm in May. In 1916 they lived in Elizabeth Street, Moonee Ponds where the children attend Bank Street School, Ascot Vale. The children developed diphtheria Mary and Bon were transferred to Fairfield Hospital. In March 1919 the family returned to live at Melton at the time of the outbreak of the Spanish influenza. Mary, Bon and Edgar returned to Melton School. Following the death of CEB in a car accident in 1931 she was left to bring up her children on her own; the youngest Jim, aged 9 and eldest Mary, aged 24. Jessie left ‘Darlingsford’ in 1946 when her sons had safely returned from WW II. She stayed at Yarram for a time where her married twin daughters lived when more grandchildren were born and spent the remainder of her life living with various family members. Jessie died in 1960 while living with Mary and Keith.Jessie Barrie with her grandchildren at Darlingsford, Meltonlocal identities

Set of 12 MMTB Tram timetables, folded sheets, 10 sections, providing timetables for specific routes, day of week giving information on tram times at specific time points, route map, sections and fares and organisation address - 616 Little Collins St. Melbourne. .1 - Route 4 - Carnegie - City - Feb. 1970. .2 - City Route 4D - East Malvern - April 1970 - notes a bus route on Sundays only .3 - Routes 55 and 56 - West Coburg - City via Domain Road and William St - Sept. 1970 .4 - Route 65 and 64 - East Brighton - City - April 1970 .5 - Route 1, 2, 15 and 16, St Kilda Beach, South Melbourne Beach and City - March 1970. .6 - Route 5 - Malvern Burke Road - City - April 1970 .7 - Routes 48 and 74 - North Balwyn - Burwood - City September 1970 .8 - Route 59 - Essendon - city - July 1970 .9 - Routes 88 and 96 - East Preston - East Brunswick - City - March 1970 .10 - Route 82 - Footscray - Moonee Ponds - Feb 1970 .11 - Routes 48 and 74 - North Balwyn - Burwood - City September 1970 - Saturdays and Sundays, printed on pink paper. .12 - Routes 88 and 96 - East Preston - East Brunswick - City - March 1970 - Saturdays and Sundays, printed on pink paper.trams, tramways, mmtb, timetables, melbourne, fares, route 4, route 4d, route 55, route 56, route 64, route 65, route 1, route 2, route 15, route 16, st kilda beach, carnegie, east malvern, west coburg, east brighton, south melbourne beach, route 5, route 48, route 74, route 88, route 59, route 96, route 82

Main Road, Eltham, south from Brougham Street to Dalton Street, c.1911 View looking down Policeman’s Hill on Maria Street (Main Road) from near Brougham Street towards Dalton Street, site of the Avenue of Honour established in 1916-1917 in memory of the soldiers who served in the First World War, 1914-1918. At the bottom of the hill on the right is White Cloud Cottage, home of the Jarrold family, three women standing out front observing the photographer. The road passes over a culvert which runs to the west in front of the cottage. The cottage was originally located closer to the Diamond Creek but was subject to flooding. It was dragged by horse to the present site shown, which was chosen for the higher ground that had been created as a result of land fill being deposited here from the quarry further around the bend on Main Road (site of present-day Eltham Primary School carpark) where the stone had been quarried for building the State School in Dalton Street. Immediately at the end of the straight section of the main road can be seen the gas streetlamp in front of the Jarrold home and the pond at the bottom of Dalton Street. The cottage had previously been rented for use as a Police Station / residence prior to the building of the permanent police house and station at the corner of Maria and Brougham streets in 1859. At the time of collection of photos for the centenary of the Shire of Eltham (1971) the cottage was owned by the Skipper family and remains in the family to present day (2021). On the left is the Grant house on the corner of Main Road and Dalton Street now the present-day site of Eltham Clinic. Cross Ref: 0749 for another view of the Jarrold family home Photographer: J.H. Clark John Henry Clark was the youngest of three boys born to William Henry Clark (1823-1877) and Maria White (1843-1914). He and his brothers, William Charles Clark (1872-1945), Clement Kent Clark (1874-1912) operated a photography business (Clark Bros.) from 25 Thomas Street, Windsor near Prahran during the period c.1894 to 1914. Following death of Clement in September 1912 and their mother in 1914, the Clark Bros business appears to have dissolved, the premises demolished, and a new house was under construction in 1915. John set up business independently in 1914 operating out of 29 Moor Street, Fitzroy where he is registered in the 1914 and 1915 Electoral Rolls. By 1916 John had relocated to Eltham where he continued his practice as a photographer and took many of the early images around the district of Little Eltham. Around 1930 John changed professions and opened a small cobbler's shop in 1931 near the pond opposite Dalton Street adjacent to the Jarrold family cottage. He never married and continued his profession as a bootmaker from this little shop, maintaining a close relationship with Mrs Jarrold for the rest of their lives. His bootmaker shop remains today beside the Whitecloud cottage and is one of only three remaining shops in the area from the early 20th century. There are a couple of images of Eltham taken by Clark Bros. in the Eltham District Historical Society collection, one such example being Hunniford’s Post Office with Miss Anne Hunniford out front (EDHS_00140 - marked on the back of the print, Clark Bros., 25 Thomas St. Windsor), which would date this image between c.1894 and 1914. Other early images of Eltham taken by John Henry Clark are marked on the face “J. H. Clark Photo” and it is assumed these are dated between 1914 and 1930. It is noted that the Grant of Probate for John H Clark of Eltham South dated 5 April !957 (513/387) records his occupation as "X Photographer".This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Negshire of eltham pioneers photograph collection, eltham, main road, jarrold family, dalton street, j.h. clark photo, white cloud cottage, avenue of honour, eltham clinic, gas lamp, grant house, jarrold cottage, 1900

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

These are the recollections of Alan Menere (1915 – 2001). Alan grew up in Moonee Ponds, Victoria, and moved to Bendigo while in his early 20s. There he met some like-minded young men who enjoyed challenges and matters mechanical. Flying was the adventure of the time, and they decided to give it a go. There was no intention to be on the leading edge of gliding technology. The challenge was to fly, and by their own efforts. They were aided in this by the embryonic regulatory arrangements covering light aircraft construction and flying, a sense of optimistic can-do, and the cavalier estimation of risks that goes with being in your early 20s. The events described here took place against a darkening political background. Alan and his mates were politically aware, very left wing, and viewed the gathering storm in Europe with apprehension. They could see from early on that war was coming, and it would change everything. Prevented from joining the Air Force by his red-green colour blindness, Alan joined the Army the day after the Pearl Harbour attack. He served in an Armoured Reconnaissance Unit in Western Australia, then with the Army Education Service in New Britain. After the War he joined the Commonwealth Public Service. He moved to Canberra, but his Bendigo habits stayed with him, as he built sailboards and carved propellers, to the admiration of his sons. Alan developed macular degeneration in his mid-60s. He retired to Port Stephens, fishing and socializing when he wasn’t tinkering with wing-sails for his catamaran. As he could touch-type, he quickly learned to use a computer. Very aware that he was the last member of the Bendigo group still alive, he resolved to set down his flying experiences. The images he selected are included, but there are many more from the Bendigo days.A CD entitled "Alan Menere - Recollections of Gliding in Bendigo in the late 1930s". The CD contains 33 documents consisting of one word file, one PDF file (entitled "The Urge to Fly") and the rest are of either photos of the Bendigo Gliding club or generally around Bendigo itself. Also included are some paper clippings of accidents that happened and description of flights.history, bendigo, bendigo gliding club, alan menere

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke KeoghVirtual Imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

National Wool Museum exhibition in form of a series of portraits and a slideshow showcasing the women of Australia’s wool industry. Exhibition was launched on International Women’s Day 2019, featuring images by photographer ­Nicole Marie. Women In Wool The Australian wool industry would not be what it is today without the significant contribution of women. Often their role has been forgotten or underrepresented. Since colonial times, women have left their mark on the industry, such names as Eliza Forlonge, Elizabeth Macarthur and Anne Drysdale are examples of pioneering Australian women of wool. Traditionally woolsheds were claimed as the domain of men. In the past men would utter the phrase “ducks on the pond” as a cryptic warning to other male shearers that there were women in the sheds and they should watch their language and clean themselves up. But this segregation has changed. In recent years the role of women has increased dramatically across all aspects of the wool industry, but most significantly in woolsheds. Over the last decade the number of women in shearing sheds has almost doubled and it is set to increase further in the coming years. Today, in many sheds across Australia, sometimes women outnumber men when it comes around to shearing time. Women are active and important contributors to the prosperity of the industry. The portraits on show here are a celebration of the significant role of women in the industry. They are a diverse selection, including both young female shearers and experienced workers, ranging in age from 19 to 96. Many of the up-and-coming shearers started as rouseabouts and have stepped up to becoming shearers - one sitter for the project had just returned to the sheds after having a child only three-months before. Also on show are women who devoted decades of their lives to the industry and are only now becoming recognised for their vital role in Australian wool. Foreward by National Wool Museum Senior Curator - Dr. Luke Keoghvirtual imageswool, women in wool, nicole marie

Laughing Waters Walk, 7 Sep 2013 This Society excursion was a follow up to the Laughing Waters Story told to us by Jane Woollard at our Annual General Meeting in March 2013. It involved a walk commencing from the corner of Laughing Waters and Overbank Roads along Laughing Waters Road to its eastern end and returning partly over the same route - a total distance of about 2.5km. On the way we visited the two artist in residence properties, River Bend and Birrarung, to view the houses on them that are associated with Alistair Knox, Gordon Ford and others in the local mud brick and artistic community. We also able to walk around the derelict ruin which was once home to Gordon and Sue Ford, Boomerang House. An unexpected afternoon tea was offered to us by the artists in residence at Birrarung House and we had a brief opportunity to view inside the house. Birrarung is situated near the end of Laughing Waters Road. It was built in 1974 by Graeme Rose for Gordon Ford who he had asked to build him a small ‘bach’. Builder Peter Jarvis who did his apprenticeship with Alistair Knox for a couple of years recalled there were no drawings. It evolved as more funds became available. Graeme would source second-hand building materials around which he would shape the house. The fireplace was built with chicken wire over which it was rendered with faro cement. A brick floored glass studio, added later, faces a wall of boulders pressed into a manmade cliff, a large pond the link between the rock wall and glass studio. A waterfall, fed by river water, no longer functions. The property became part of the Laughing Waters Artist in Residency Program with the first artist taking up residency in 2001. For a more in-depth description of the property and biographies of the various artists in residence commencing from 2001 through to 2015, see Jane Woollard's book, "Laughing Waters Road; Art, Landscape & Memory in Eltham" published 2016.2013-09-07, activities, artists in residence, eltham district historical society, heritage excursion, jim connor collection, laughing waters road, birrarung house

Laughing Waters Walk, 7 Sep 2013 This Society excursion was a follow up to the Laughing Waters Story told to us by Jane Woollard at our Annual General Meeting in March 2013. It involved a walk commencing from the corner of Laughing Waters and Overbank Roads along Laughing Waters Road to its eastern end and returning partly over the same route - a total distance of about 2.5km. On the way we visited the two artist in residence properties, River Bend and Birrarung, to view the houses on them that are associated with Alistair Knox, Gordon Ford and others in the local mud brick and artistic community. We also able to walk around the derelict ruin which was once home to Gordon and Sue Ford, Boomerang House. An unexpected afternoon tea was offered to us by the artists in residence at Birrarung House and we had a brief opportunity to view inside the house. Birrarung is situated near the end of Laughing Waters Road. It was built in 1974 by Graeme Rose for Gordon Ford who he had asked to build him a small ‘bach’. Builder Peter Jarvis who did his apprenticeship with Alistair Knox for a couple of years recalled there were no drawings. It evolved as more funds became available. Graeme would source second-hand building materials around which he would shape the house. The fireplace was built with chicken wire over which it was rendered with faro cement. A brick floored glass studio, added later, faces a wall of boulders pressed into a manmade cliff, a large pond the link between the rock wall and glass studio. A waterfall, fed by river water, no longer functions. The property became part of the Laughing Waters Artist in Residency Program with the first artist taking up residency in 2001. For a more in-depth description of the property and biographies of the various artists in residence commencing from 2001 through to 2015, see Jane Woollard's book, "Laughing Waters Road; Art, Landscape & Memory in Eltham" published 2016.2013-09-07, activities, artists in residence, eltham district historical society, heritage excursion, laughing waters road, birrarung house, fay bridge collection