Bendigo Operatic Society Production Oklahoma Capital Theatre Bendigo Opening Friday, 14th July, 1961 For Six Nights. Produced By Norman Lee. A Rodgers & Hammerstein Musical based on Lynn Rigg's play 'Green Grow the Lilacs.' A Chappell & Co. Ltd Production. Songs Include: 'Oh What a Beautiful Morning,' 'The Surrey with the Fringe on Top' 'Many A New Day' People Will Say We're in Love,Oklahoma. Cast: Gertrude Perry, Harry Brewer, Dawn Beckwith, Leonard Carr, Peter Houston, Gerald Gleeson, Bryan Brewer, Brian Thomas, Annette Wilson, Alfred Annison, Wendy Griffiths, Emily Westgarth, Joan Crane, Carol McKenzie, Aileen Simmonds, Patricia McCraken, Frederick Trewarne, Reginald Boromeo, Gerald Hayward, Victor White, Peter Haines, Terry Carr, Bronwen Townsend.Cambridge Press.clubs and associations, theatre, bendigo operatic society, https://en.wikipedia.org/wiki/oklahoma!_(1955_film)

Kylie THOMAS (14 May 1973 - ) Born Creswick, Victoria A graduate of the Bachelor of Arts (Visual Arts) (1993) and Diploma of Visual Arts (1995) from Federation University (then University of Ballarat) Kylie Thomas continued her art practice after studying under distinguished sculptors Peter Blizzard and Adrian Mauriks. This work was acquired from her graduate folio. Soon after completing her studies Kylie Thomas became an artist in residence at Ballarat Grammar School building a public sculpture for the grounds conceived by one of her selected students as part of the program. She became the youngest exhibiting applicant to be awarded the City of Port Phillip, Rupert Bunny Foundation artist in residence program. After moving to Mallacoota she was absorbed into the community as a visual artist, actor, playwright and assistant publicist. Her commissioned public artwork and sculptures as part of residences collections were all lost in the 2019 bushfires that decimated Mallacoota. Moving back to her hometown of Creswick Kylie Thomas completed a Diploma in Education qualifying as a secondary teacher, always continuing her art practice while teaching. Needing to work again, but with no desire to teach, Kylie Thomas studied Building Design and Architectural Drafting, homing in on other areas which could link back to her artistic practice. Working in this field for a short time she moved to Melbourne where she exhibited paintings and sculpture installations as part of The Melbourne Fringe Festival. She also worked in set design, and as a stage manager and theatre actor. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.This work is a spiritual totem created in the tradition of the bricoleur, dedicated to bygone cultures, lost technology and mystery referencing nature, humanity and technology. Humanity to use technology with and for nature. The materials are symbolic, the use of bone, Perspex, computer parts, found and crafted objects constructed in a resulting harmony creating a symbiotic relationship. Tapping the 4th dimension that could lift off into space and come back again, with a feeling of weightlessness, awe and suspension captured. A sculpture which stands on a white pedestal with perspex cover. 'Cultural Dedication' is the final work in a series of sculptures influenced by the ancient cultures of Egypt. art, artwork, kylie thomas, sculpture, alumni

A dress believed to have belonged to a family member of Mrs. Jessie Somerville Singer (nee Watson), 1849-1935. As the dress dates from circa 1850, it could have belonged to someone from one generation previous, possibly her mother Elizabeth Watson. Jessie Somerville Singer was the second wife of Mr. Edward Singer (1829 – 1904) of 'Somerville', New Street, Brighton Beach. Edward's first wife, Maria, died in 1861; their son William died approximately 12 months later. In the 1861 census of North Bradley England, Edward was recorded as a carpenter journeyman. After these tragedies Edward, then aged 30, left England to start a new life in Australia. He emigrated as an unassisted passenger on the steamship 'Great Britain', departing from Liverpool and arriving in Melbourne in April 1863. Edward worked as a joiner and overseer for a timber merchant in Franklin Street, Melbourne. In December 1869 he bought a property at 1115 Hoddle Street, East Melbourne, between Hotham and George Streets. At some stage he also acquired 1117 Hoddle Street. He also owned another property in Rushall Crescent, North Fitzroy. On 10 July 1873 Edward married Jessie Somerville Watson, the daughter of William Watson and Elizabeth Martin. They lived at Hoddle Street for some years, later moving to Rushall Crescent, North Fitzroy before in the 1880s settling in what was then the semi-rural suburb of Brighton. Edward is recorded as working there as a joiner. The house 'Somerville' was built by the Singers in circa 1880 at 100 (now 78) New Street, Brighton. The family moved there upon Edward's early retirement and lived there until 1941. 'Somerville' was sold, the house demolished and the land subdivided in the 1930s. Edward and Jessie appear to have lived comfortably. Edward died on 30 July 1909. Jessie died on 11 November 1935. Many members of the Singer family have lived in and around Brighton since Edward and Jessie first made their home there. The donor, Mrs Dorothy Constance Cook, was Jessie's granddaughter.A silver and brown striped silk taffeta dress comprising separate bodice (.1) and skirt (.2). The dress features a high round neckline fastening down the centre front with concealed hook and eye closures with ten (two missing) decorative brown silk velvet buttons. The front and back feature a briown silk velvet ribbon that forms a v shape from the shoulder to the centre front just below the bust and centre back below the shoulder blades. From the ribbon falls a brown and silver silk fringe approx seven cms deep. The bodice is shaped and boned into the waist and finishes in a deep v over the stomach. At the back the bodice is shaped to the body finishing in a smaller curved v over the small of the back. The sleeve attaches to the bodice at the true shoulder and falls in a pagoda sleeve to the mid forearm. The sleeve is also trimmed with brown silk velvet ribbon near the base of the sleeve. The full skirt is pleated at the waist, falling to the floor, longer at the back to accommodate the crinoline.somerville, new street brighton, jessie somerville singer, edward singer, elizabeth martin, brighton, 1850s

Green silk sash, Ancient Order of Foresters. Court King of the Forest 3770. Sadh belonged to Mr. Carl Mueller. Sash has embroidered all seeing eye, a deer's head, a shield divided into four, the top left corner has shaking hands, the top right has three deer, one above the other, the bottom left has a sheep?, and a horn separated by a red band, and the bottom right has a quiver, an arrow and a horn. In the centre are three arrows in front of a horn. On each side is a man dressed in yellow boots, white trousers,slightly different green jackets, and green hats with white feathers. One man has a bow and arrow and the other has a club and a dog is behind him. Underneath are four women circling the top part of a sphere above the words 'Unity Benevolence and Concord. Underneath is Ancient Order of Foresters, then there is some yellow and brown filigree above Court King fo the Forest. 3770. The sash has a red fringe on each end.organization, club/society, ancient order of foresters, ancient order of foresters sash, carl mueller

This glass slide presents an image of the Old Beechworth Post Office and was taken in the year 1900. The building displayed within the image is not that of the post office in its original form; the post office originally consisted of only a simple wooden building. With the establishment and growth of new towns across Victoria, as well as an increased need for more consistent communications with the City of Melbourne, this modest building was soon deemed inadequate. In 1858 it was brought into the style of the changing times, with the tall clock tower added in 1865. This transition aligned with a pattern of refurbishment and conversion of many Beechworth buildings (which could be seen during the 1860s-70s), aiding in the growth and prosperity of the town. Early makeshift homes were turned into more substantial dwellings, featuring elements such as weatherboard, brick, and granites materials, and gabled or hipped roofs with iron lacework fringing the verandah. These refurbishments were temporarily halted in March of 1867 when a fire swept through the town, damaging many buildings including the post office. This led to further reconstructions on the building, including heightening of the clock tower, and in 1870 the two-storey Italianate style building was completed. The Old Beechworth Post Office itself also holds significance due to its connection with one of Australia's most infamous families. It reportedly played an important role in communicating the news of the 1880 murders of police at Stringybark Creek by the Kelly Gang. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques. This glass slide captures social and historical significance as it displays the Old Beechworth Post Office in 1900, a building that demonstrates the prosperity and growth of Beechworth as a town during this time period. This slide also holds a level of aesthetic significance due to the Italianate style building that is featured in its image; a style that became very popular during the nineteenth-century. Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.Obverse: x / burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, beechworth post office, beechworth post office kelly gang, 1900, 1900 beechworth, growth of beechworth, 1867 beechworth fire, old beechworth post office, beechworth post office reconstructions, italianate style, italianate style buildings, italianate style beechworth post office

This picture shows an angle of Beechworth Primary School (State School number 1560) which is also pictured in the building's entry in the Victorian Heritage Register (VHR record 1718). The school began as a national school in 1858 as an alternative to Wesleyan and Anglican schools already operating in the area. Its name was changed to Common School number 36 in 1862 and the Beechworth Academy prior to being taken over by the Education department in 1873. The new premises were built in 1875 utilising the skills of architect Henry Bastow though the original design may be attributable to the firm Wharton and Vickers. The design was used with modifications for other schools in Victoria, including the Competition School in Errol Street, North Melbourne. The school moved to the building pictured from its original premises in Loch Street, designed by Thomas Dalziel, which later became the office of the Ovens Advertiser. The school was opened on 2 July 1875 by former Beechworth resident G.B. Kerferd, who was then the Premier of Victoria. The image shows approximately ninety older students at the school in approximately 1900. There are approximately equal numbers of boys and girls pictured, with most of the individuals pictured appearing to be between the ages of twelve and fifteen. Although the school had more than 1000 students enrolled at its height, enrolments had declined to 304 in 1890. Also visible is a fringe of sequoia pines which were planted by the school children as a project lasting through to the late 1930s. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.The image is significant because it sheds light on the educational infrastructure present in Beechworth in the early part of the Twentieth Century, including the prevalence of education for students after current-day primary-school age and the education of girls. It also provides insight into the building and design practices used by Government departments at the time. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: L / burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, schools, education, high school, primary school, common school, state school, state school 1560, common school 36, beechworth academy, g.b. kerferd, thomas dalziel, henry bastow, victorian heritage register, beechworth primary school, girls education, boys education, public schools, education department, pines, trees, sequoias, competition school

Address given by Mrs Lavender on the presentation of the Kyneton Colours on 28 February 1861 “Gentlemen of the Kyneton District Mounted Rifles, I feel proud of the honour done me in being deputed by the ladies of Kyneton to present the colours to your honourable Corps. There has always been a peculiar honour and responsibility connected with the colours of a Regiment. They have been unfurled on a battlefield as rallying points for many a splendid troop of gallant soldiers and courageous hearts. They have been spread to the breeze on the storming of many a city and battles hardly fought and dearly won. To retain their position and maintain their integrity, many a brave soldier has freely offered his life in their defence and, when in the hour of adversity they have been lowered, overpowered by the foe, many a brave heart has bit the dust. We might say that the history of our country is written on the banners of our “Fatherland”. The names emblazoned there speak, it is true of many a battlefield, of many a desperate struggle and of many a glorious victory won by British bravery. Gentlemen, your colours are not decorated by names such as Waterloo, Alma, Inkerman, Delhir Cawnpore, and many others I might mention. They are blank and may the God of Peace grant that in this land of adoption, it may be long before necessity of duty calls upon you to maintain the integrity of your colours and win their names. But if in the providence of God, either from internal commotion or external aggression, you should be called into action, may these colours, the token of your Corps, be upheld with the bravery of British Soldiers, their honour maintained with your lives, and may they never be lowered to a foe. Gentlemen, your motto directs: Onward, onward; may it be so Onward at the shout of victory” This item is significant as The Kyneton Colour is the 2nd oldest Regimental Colour knownin Australia, and the oldest Australian Cavalry Colour. It is unique, in that it is hand made from an original design, there is no other colour of this type known to exist. The Kyneton District Mounted Rifles is the oldest ancestor unit of the 4th/19th Prince of Wales's Light Horse Regiment and therefore is historicaly significant to the Regiment in particular and to Australian Military History in general.Regimental Colour of the Kyneton Distric Mounted Rifles. A double sided blue silk damask standard bounded on three sides by 30mm coiled metal fringing. It is heavily embroidered through a silk and cotton layer and these sections are are put back to back forming a sandwich of four layers. Several kinds of metal threads and sequins have been used for the embroidery as well as coloured silk floss, employing satin and stem stitch. The front shows a central insert in white silk divided into four and with a steam engine, bull, plough, and wheat sheaf in the segments. This crest is flanked on the left by a kangaroo and the right by an Emu. Above the crest is a horizontal baton, and above that a smiling sun sitting on a bed of clouds. The initials KD are in the upper hoist area and MD in the upper fly region.Below the crest is a red ribbon with the Latin words VESTICIA NULLA RETRORSUM in metal thread. Below this applique is a green satin stitch shape. The reverse has a red cross with stars surrounded by a green and gold laurel wreath. This is surmounted by a Queen's crown in embroidered metal thread over a base of red silk velvet. The bottom third of the flag is decorated with the words KYNETON DISTRIC MOUNTED RIFLES in embroidered metal thread.See description.standard, colours, kyneton district mounted rifles, kyneton

1 - Issue 1 - March 2007 - with photo of the Police Tram (2109) - Welcome message from the CEO Dennis Cliche, Good Friday appeal, Burwood highway works, new sub-stations at Coburg, Royal Park, Brunswick depot, Camberwell depot, East Preston, Essendon, Bundy Clock, Glenhuntly, Kew Depot, Malvern, Southbank,, Safety, events, Lunar Festival .2 - issue 2 - June 2007 - 18 pages, Malvern Depot (a green depot), Paul Matthews profile, trackwork at Glen Huntly and Essendon depots, Depot news, Joyce Barry tribute, Hawthorn depot museum, fund raising. .3 - issue 3 - Octr. 2007 - 16 pages - fund raising - Melbourne city romp, Des Davies retirement, CPR rescue of a collapsed driver, depot news, retirements and a chemical and fire incident on the Vermont South line. .4 - issue 4 - Jan. 2008 - 12 pages - fundraising, family events, depot news, retirements, TramTracker Jake .5 - issue 11 - Winter 2010 - 16 pages - St Kilda Road Superstops, Michel Mason - CEO, Malvern depot centenary, Transformation, new maps on trams, fundraising, the leadership team, depot news, uniforms, South Caulfield Junction upgrade. .6 - 20 pages issue 12, Summer 2010, published soon after Keolis took over operations of Yarra Trams. The first 10 pages, look at Trams on the Fringe, Feedback, Football trams, staff matters, and features a story on page 10 of the Hawthorn Tram Depot museum and Driver Shaun McCarthy wearing the brown uniform in front of tram 1041. Fully Scanned. The second ten pages are reversed (upside down) and titled "Le Pantographer", featuring a Bordeaux tram on the cover. Provides details of Keolis operations such as Lyon, Bordeaux, Lille, Le Mans, Caen, Angers, Dijon and other operations. .7 - issue 6 - Spring 2008 - Meerkats, fleet operations, training, Art Alive, Kew depot - new inspection pits, Long Lay Malvern, Did You Know campaign, and looking for Cricket players - part scanned. .8 - issue 13 - Autumn 2011 - Michel Masson CEO, visit of French Media, Ron Scholten Retirement, photo of Geoff Dean of Camberwell, - part scanned. .9 - issue 5 - June 2008 - Tram works Swanston and Flinders, tram 111, cricket .10 - issue 8 - Autumn 2009 - Good Friday appeal, public transport ombudsman, Malvern centenary, my friend Mike .11 - issue 9 - Spring 2009 - Chris Cairns safety campaign, route 48, Myki, Tramtracker, Jake.Demonstrates Yarra tram staff newslettersEleven issues of Yarra Tram's internal newsletter "The Pantograph", all A4, center stapled. Issues not fully scanned, unless noted.trams, tramways, keolis, yarra trams, fohtd, hawthorn, uniforms, coburg, substation, royal park, burwood highway, fund raising, bundy clock, environment, glenhuntly depot, essendon depot, malvern depot, south caulfield, tram 2109, tram 84, route 48, tram 111, good friday

This dress was donated as having belonged to Annie Elizabeth McLean, who worked as a maid to the daughters of Samuel Renwick of Caulfield. Annie was born in Argyllshire, Scotland in 1853. This dress appears to have been originally made circa 1855 and then modified circa 1872. As Annie would only have been two years old in 1855, this indicates that the dress would most probably have been originally made for someone else and later acquired by Annie. Annie Elizabeth McLean arrived in the Colony of Victoria from Argyllshire, Scotland with her aunts and cousins in 1867, aged thirteen and a half. She had been educated in Scotland and eventually became a personal maid and then companion to the Renwick girl, daughters of Samuel Renwick of Caulfield, Victoria. The Renwicks' home, 'The Garrell' on Glen Eira Road, was one of Caulfield's earliest residences, having been built around 1854. Samuel was a business partner of William Kerr Thomson, a well-known Brighton resident and the original occupant of the North Road mansion 'Kamesburgh'. During her time with the Renwick family, Annie travelled with them to England, then to Scotland, then back to Victoria. She left the family upon the marriage of the youngest Renwick daughter, then went to the household of Sir William and Lady McCullough until she left to be married to Alfred John Ashfold in 1878.This c1872 grey and white silk pin stripe dress features a high round neckline with eleven decorative blue silk buttons and secured by a concealed line of fifteen hook and eyelet closure. The bodice (.1) has decorative blue and green braid over the shoulder and bust and across the base of the bodice. The dress features three darts shaping the dress to the body. The sleeve is cut high but relatively full and tapers to the elbow then flares again in Pagoda like style but ends at the wrist or hand. The skirt (.2) opens over the left hip and features a pocket over the right hip. The skirt at the front finishes at the ankle or just above the ground. At the back the bodice features panels shaping the dress into the body and pleated and flared from the waist. At the small of the back is a decorative bow with pinked edges and decorative braid. The skirt at the back is uncommon in shape most likely as the result of modification. It appears to have had panels removed reducing its original fullness. It has a tape inside the back of the skirt that would draw the skirt in creating a bustle like shape . It would appear that the dress had been modified in order to create a more fashionable silhouette most probably in circa 1872. There are three separate pieces of fabric. One is made up into a semi-circular over-skirt trimmed with blue braid and fringing (.3). Two pieces are unpicked skirt gores, one still has its cotton lining attached (.4 and .5).annie elizabeth mclean, samuel renwick, the garrell, caulfield

Presented to 10th Light Horse Regiment (West Australian Mounted Infantry) by Lt-General Sir Harry Chauvel, GCMG, KCB on the Esplanade, Perth, 10 March 1928. Consecrated by Senior Chaplain COL Riley, OBE, VD, DD. Later carried by the post-World War Two unit, 10th West Australian Mounted Infantry, raised as a CMF unit of the Royal Australian Armoured Corps in 1949 as a direct successor unit to the above light horse regiment. This unit was redesignated as 10th Light Horse in 1956. The Guidon was laid up at the State War Memorial, King's Park on 10 June 1967, following presentation of a new Guidon to 10th Light Horse in 1966. It was transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. Crimson with gold fringes, swallow tailed end (traditional cavalry Guidon shape). In the centre a black swan within a circle inscribed "10th LIGHT HORSE (WAMI)", across the lower portion of the circle a scroll inscribed with the regimental motto "PERCUTE ET PERCUTE VELOCITER", the whole surrounded with a wreath of Australian wattle and surmounted by the Crown. In the upper canton the roman numeral "X" Below the whole centrepiece is the regimental colour patch in black over gold diagonals in a rectangle and below that is the battle honour SOUTH AFRICA 1900-02 . Emblazoned on either side of the centrepiece are ten selected battle honours from the Great War: DEFENCE OF ANZAC, SARI BAIR, RUMANI, MAGHDABA-RAFAH, GAZA-BEERSHEBA, JERUSALEM, JORDAN (ES SALT), MEGIDDO, SHARON, DAMASCUS. The battle honour for South Africa for unknown reasons was not included on the guidon when originally presented in 1928, and was not emblazoned on the Guidon until the early 1950's. Other related facts:- • The battle honour "South Africa 1900-02" was granted under MO 123/1908 to 18th Australian Light Horse Regiment which was the predecessor Militia Light Horse regiment existing at the time. • This battle honour appeared under 10th Light Horse Regiment in the Australian Army List from 1928 onwards. • Having the battle honour added at a later date would explain why this battle honour is positioned on the lower portion of the guidon in the centre. At the time of approving battle honours for the Great War, the authorised position for any pre-existing South Africa battle honour was in the top left corner of the Guidon or colour, followed by the battle honours of the Great War. (AAO 112/1927).

This gown, one of two similar items in the collection, belonged to one of the daughters of George Ward Cole, Miss Margaret Morison Ward Cole or Miss Agnes Bruce Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished.A black and mint green wool, velvet, lace and silk dress from circa 1882. The bodice features a wired, standing collar, finishing just under the chin and open at the front of the throat. On either side at the front of the throat it features long black lace ties with black jet bead fringe. The centre front of the dress from the neckline to the base of the skirt features an insert panel of mint green corded silk. The silk is gathered and the neckline and waist and overlaid a panel of gathered lacy net. Inserted into the seam at either side of this panel at the waist are two velvet ties. The dress secures closed with eight black buttons and one hook and eye down the right side of the mint panel to mid thigh. The edges of the collar and black front panels are finished with a looped ribbon trim. The remainder of the dress is made of a black wool fabric woven a checkered pattern of larger and looser threads and smaller and tighter threads creating a seersucker like pattern. The bodice features a natural shoulder line and an Amadis sleeve of full cut gathered to the bodice at the shoulder and finishing at the elbow with a large black lace flounce. The front panels of the dress are flat and shaped neatly to the body from neck to hip line and gently out to create the Victorian silhouette. On the back of each shoulder the dress features a leaf like, small jet beaded embellishment with multiple long loops of jet beads falling down the back to the waist. Underneath this embellishment is a pleated black ribbon that runs from the shoulder to the back of the pelvis. Over the pelvis are another two jet beaded embellishments of a floral design with two tassels. The skirt is full and pleated in under this embellishment and fulls to the floor with a small train. The base of the dress is finished with a ruched band of the main dress fabric.st ninians, george ward cole, visiting gown, brighton, miss margaret morison ward cole, miss agnes bruce ward cole, 1880s

Kids of all ages enjoy the Miniature Railway. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p163 On Sundays in Eltham thousands of children, mums, dads and grandparents can be seen travelling around Lower Eltham Park in tiny trains. They are among the two and half million passengers who have travelled on the Diamond Valley Railway since it officially began in 1961. The miniature railway originally operated from the 1940s at Chelsworth Park, Ivanhoe, until flooding caused it to be moved to the Eltham Lower Park in 1959. The railway is modelled on the 1920s era – the heyday of passenger rail travel – and the trains are built on a scale of two inches to the foot (1/6). Although not exact replicas, trains include models of the Spirit of Progress, Puffing Billy, The Overland, Dog Boxes, Vic Rail S class, G class and a NSW 81 Class. The three and a half kilometres of track is set amongst native plants and picnic areas. A friendly hoot or the clang of a bell occasionally punctuates the tranquillity as a train emerges from a treed bend with passengers excitedly waving to onlookers. For $3 the train takes you on a 13-minute two-kilometre ride. Passengers sit in single file in the narrow train, which clatters along tracks built to the scale of the Australian narrow gauge of three feet six inches (1.1m). These are used in Queensland, South Australia, Tasmania and Western Australia. Safety standards are stringently kept. Even before you buy a ticket notices tell you that you must wear closed shoes. You can even borrow these, and you are given a pair of socks for the ride! Blue-overalled volunteers check tickets, see you aboard, and drive the train. They are mainly retired men who can at last devote their time to what little boys dream of – playing with trains. Passengers are instructed in safe behaviour, then the station master waves a white flag and off we go. The guard sits at the back with his whistle and green flag at the ready. The winding track, fringed by native trees and bushes planted by volunteers, stands on crown land managed by Nillumbik Council. The train clatters along the track and crosses a bridge over a drain elevated by name to The Blow Fly Creek. We pass by Meadmore Junction at a speed of three kilometres an hour. Then on through a tunnel, accompanied by squeals of delight, and after a few moments of blackness, light glimmers at the end. On we go, past the original platform, along another route past busy Main Road through Pine Creek Station, over a bridge and through another tunnel with more screams of delight.Then a signal stops us before the ‘all clear’ to return to our original point of departure. The railway services its passengers – the largest number of any miniature railway in Australia – with a fleet including: six diesel locomotives, three steam locomotives, eight sets of passenger cars and one battery electric Dog Box set. Members also privately own 20 locomotives and powered carriage sets as well as four carriage sets.1 All the trains are stored on-site in workshops, sheds and a tunnel. The railway is entirely run by volunteers, so that all ticket money is used for maintenance and extensions, and some goes to local charities. Since 1991, the entire railway has been rebuilt, including an upgraded signalling system. About half of the 120 volunteer members are active with about 35 working each Sunday, and a dozen or so working every Wednesday. Members are trained to positions of station assistant, booking officer, train guard, train driver or signalman. Members construct new carriages and locomotives as well as maintaining track, signalling and rolling stock.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, diamond valley railway, eltham lower park

Fitted bodice with 1.5 cm deep stand-up collar. Long curved sleeve, tapering at the wrist, has a fine piping around the armhole. Wrist is trimmed with a piped, plain silver peaked false cuff, and two 3 cm deep pleated and piped ''frills''. Three covered buttons trim the diagonally cut decorative cuff. One metal hook, and hand stitched loop on the stand-up collar. 23 covered buttons ( one missing,others in various states of disrepair) extend from the neckline to the lower skirt. Front skirt is trimmed with a 7 cm deep band of plain silver silk, bordered by the striped fabric piping, and a 3 cm deep pleated frill on either side. Below this is a 25cm deep band of the striped fabric, at the lower edge of which are sewn four X 5 cm deep bands of pleated frills. At the centre back neckline are two X 20cm ''tails'' curved at each end and lined in plain silver silk. These are to be wrapped around the neckline, and fastened with a metal hook and eye, to form a 4cm deep rounded silver collar. Skirt back extends into a 34cm deep train. Brown cotton tape binds the hemline. Front of skirt is ruched from the centre buttoned section, in three sections either side, to the centre back panel, which is pleated, and extends into the train. Back waistline is trimmed with a 14cm wide bow, striped fabric, lined with plain silver fabric.A 7cm wide, and 34 cm long loop is stitched into the centre back seam, presumably used to hold, and lift the train above the ground. (The ends of the bow are trimmed with 10 cm deep black and silver fringing.) One metal ''bone'' in left front dart(now causing damage). One tiny 5.5cmX5.5cm shield shaped pocket on left front. Dress fully lined with cotton fabric.costume, female, victorian silver striped long silk dress

The donor and family of this gown were long-term Brighton residents, and the gowns were held by them as family heirlooms prior to donation to Brighton Historical Society. Originally owned by Elizabeth Emma Adams and Cecilia Elizabeth Adams, it is believed that the dress was brought to Australia by either a half brother, James Smith Adams, or a younger sister, Sophia Charlotte Louisa Adams (later known as Mother Rose Columba Adams). Elizabeth and Cecilia were the daughters of James Smith Adams (a squire, 1780-1860) and Elizabeth Emma McTaggart (1793-1843) of Tower House, Woodchester in Gloucester, a property which Elizabeth later inherited. Originally a monastery, Tower House had been converted into a stately home after the Reformation. According to information originally provided by the donor, both this dress and the dress T0004.3 were made for Elizabeth and Cecilia, to be worn at the young Queen Victoria’s first 'drawing room ball' following the end of court mourning in 1838 for her uncle William IV who died in 1837. In 1838 Cecilia would have been twelve years old and Elizabeth would have been ten years old. It is possible that the dress T0004.3 was worn by one of the girls to this event as it is of appropriate dimensions for a child of that age, although its design is very formal and adult. However, it is unlikely that either of the girls wore this dress at the ball due to the size and styling of the dress. It is likely that the dress belonged to one of the girls, but was worn at a later date. Elizabeth was born on 30 June 1828 at Tower House and died on 1 May 1909. She created a scandal when she eloped with her first husband, Thomas Charles Gardiner at the age of 18. The validity of the marriage was later formally investigate and, while it was confirmed as valid, a second church wedding was subsequently held. Thomas died in 1878. Elizabeth subsequently remarried Reverend R. E. Blackwell, but was widowed again by 1889. Cecilia was born on 17 December 1826 and died in 1902 a spinster recluse in England. At the inquest into Cecelia's death in 1904 it was revealed that she had clearly come from a family of means as her home was filled to the brim with highly valuable goods, many in boxes. She was buried in the family vault at Woodchester. Elizabeth and Cecilia's sister Sophia converted to Roman Catholicism in 1851 and became a nun, taking the religious name 'Rose Columba'. In 1883 Mother Rose Columba led a group of eight to Australia, answering a call for Dominican sisters to nurse the sick in Adelaide. Upon arrival, she founded St. Dominic's Priory and the Church of Perpetual Adoration in North Adelaide, using her inheritance to build the chapel. Elizabeth's second son, George Henry Somerset, who inherited the Adams family estate dropped the 'i' in Gardiner and added the maiden name of his grandmother. Therefore, the family name has now become Gardner McTaggart. These Adams family entries have been updated with information provided by Dr Herbert Gardner McTaggart, great-grandson of George Henry Somerset in April 2016. Mr McTaggart contacted the society after finding our entries online.A hand sewn white purple, pink, green, blue and yellow floral silk chiffon dress from circa 1870. The dress consists of two pieces worn together as a dress. This dress has received a great deal of mending and alteration and so it is difficult to be sure of what constitutes its original state. The following description is of its current state. The bodice has a high neck with a simple shallow band collar, an olive braid and a press stud closure. The bodice fastens down the centre front with ten hook and eyes closures and two sets of ribbon ties . The bodice has three darts providing shaping into the waistline. The bodice finishes at the waist and gently tapers towards the front creating a 'V' line. Down the centre front from the neck to the waist concealing the bodice opening is a pressed pleated ruffle of the dress fabric and a line of olive braid. The dress features pagoda sleeves finished at the hem with pressed pleated ruffle of the dress fabric, a line of olive braid and a silk fringe of 4 cm pale pink and white. The skirt part of the bodice section attaches to the front of the dress with two hooks and eyes on the left hand side of the waist. The fabric drops down to approximately the knees at the front, curving up and splitting on either side over the hip. The edge of this piece is also trimmed with a pressed pleated ruffle of the dress fabric and a line of olive braid. Just below the hip on either side is a large bow of pink, cream, purple and green taffeta. The bodice at the back is shaped with four panels into the waistline. Where it joins the bodice skirt the skirt is pleated, creating fullness. The skirt of the dress ensemble secures at the waist on the left hand side. At the front it has two pleats (that may have been repositioned during repair), and is fully gathered at the back. At the front the dress falls to the floor whilst at the back it is longer to accommodate the bustle and possibly a small train.cecilia elizabeth adams, elizabeth emma adams, 1870s fashion, tower house, woodchester, james smith adams, elizabeth emma mctaggart, mary rose columba adams, sophia charlotte louisa adams

Fern gullies around Jehosaphat Gully Covered under National Estate. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p125 The magnificent Kinglake National Park, fringing Nillumbik’s north, is the largest national park close to Melbourne. Thanks to the vision and hard work of a band of local people, the park was created from what was rapidly becoming degraded land. Seeing a threat to Kinglake’s indigenous flora and fauna, several prominent local people campaigned for a national park, which was established in 1928.1 Since then, the park has grown through donations and acquisitions of land, from around 13,800 acres of land (5585ha) to 22,360 hectares. The Sugarloaf and Everard Blocks – of almost 8000 hectares – stand in Nillumbik and the park extends into Mitchell and Murrundindi Shires and the City of Whittlesea. Mt Everard commemorates William Hugh Everard, State member for Evelyn when the park was established. Before 1928, European settlers had degraded the Kinglake area, which was named after the celebrated English author and lawyer, Alexander William Kinglake. Remains of gold shafts and diggings in the park are reminders of Kinglake’s first settlers, who hoped to strike it rich at the gold diggings. But like other gold fields in this shire, they proved not very lucrative and soon timber cutting replaced mining in importance. However, before long, the accessible timber supply ran out, so in the 1920s agriculture took over – particularly potatoes and berry fruits – which involved large-scale clearing.2 The park’s instigator was retired Melbourne University Professor of Music, William Laver.3 As chair of the Kinglake Progress Association he began negotiations to have crown lands on the southern scarp of the Great Dividing Range reserved as a national park. Even before the park was proclaimed, from 1927, KPA members cut tracks to the major scenic points. Professor Laver was one of several people who gave land for the park, donating around 50 acres (20ha), including the Jehosaphat Gully.4 Laver chaired the park’s first Committee of Management, which raised money to employ a ranger and provide facilities, including tracks and roads for fire protection vehicles, toilets and shelters. The committee charged fees for firewood collection, some grazing of livestock, and visitor entrance, and obtained small State Government and Eltham Shire grants. In 1957 the State Government provided revenue for national parks. Then, in 1975, the State Government took over the management and the Committee of Management became an advisory committee, which disbanded in 1978. Originally, the park covered crown land in the Shires of Eltham and Whittlesea; then Wombelano Falls in Yea and other areas were added. In 1970 the park extended into the Shires of Eltham, Healesville, Whittlesea and Yea.5 Bush fires have been an ongoing problem. In 1939 hundreds of eucalypts and acacias had to be sown around the Jehosaphat Gully to rejuvenate the forest. To manage bushfires, the Committee of Management, then the State Government, worked closely with the Forestry Commission, shire councils and local fire brigades. Early national parks focussed on recreation. But by the 1980s, conservation, education and scientific research became more important, playing a vital role in preserving representative samples of the natural environment. Each year many thousands of people use the park’s extensive network of walking tracks amongst the protected plant and animal life as well as camping, cycling and horse riding. The park, along the slopes of the Great Dividing Range, has lookouts revealing magnificent views of the Melbourne skyline, Port Phillip Bay, the Yarra Valley and the You Yangs. Vegetation in the Masons Falls area includes messmate forest, Austral grass-trees, ferns and Hazel Pomaderris. In spring, orchids, lilies, everlasting daisies, correas, grevillea and heath appear. Around Jehosaphat Gully are wet and dry forest, fern gullies and banksia. Animal life includes wallabies, kangaroos, koalas, echidnas, possums, gliders and bandicoots. Male lyrebirds can be heard mimicking in the Jehosaphat Gully, particularly in the Everard Block in winter.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, kinglake national park, jehosaphat gully

This book is a collection of Victorian Indigenous Elders' life stories and oral histories. The Elders share their stories in an attempt to ensure that both sides of Australia's history are finally heard. These stories tell of cultural resistance on missions, of defying assimilation laws, of forever moving around to save children from the welfare. They document the development of both fringe and urban communities and work in the Aboriginal rights movement. They clarify the ways in which these experiences have affected the individual authors along with the indigenous population in general. Also included in the book is a brief history and analysis of the legislation, policies, attitudes and strategies that have affected the lives of the authors and their families since colonisation. This aspect provides an historical perspective, encouraging a deeper understanding of the Elders' stories. Reconciliation can only eventuate with an understanding gained from hearing and including the voices of Indigenous Australians. Contents: The writing team Indigenous elders: keepers of knowledge; custodians of land and culture Aboriginal lands Missions and reserves Growing up running from the welfare /? Aunty Olive Jackson Respecting our Elders /? Aunty Lola James If your mother didn't tell you, then your grandmother did! /? Uncles Les Stewart Don't dwell on trouble /? Aunty Audrey Critch There are my people /? Aunty Gwen Nelson We were all cousins, more or less /? Aunty Iris Lovett-Gardiner Aboriginality is about culture, not colour /? Aunty Dianne Phillips Take up the opportunities we struggled to make /? Aunty Frances Gallagher Home /? Aunty Eileen Alberts We were supposed to forget our Aboriginality /? Aunty Gwen Garoni Not enough heart to say sorry? /? Uncle Brian Kennewell-Taylor Learning from indigenous elders: Keeping the traditions, keeping the culture strong; Since time immemorial; Invasion: the tide ran red; The flood of legislation; Stolen children; Cultural resistance: holding on to children traditions and land; Organised resistance: a movement is born; The 1950s: community resistance to race laws; The price of assimilation; The Aboriginal rights movement; After the flood: self-determination; Turning the tide Bibliography Appendix. Cultural custodianship: developing an indigenous methodology.maps, colour illustrations, b&w photographswiradjuri, victorian indigenous elders, oral histories, yorta yorta, dja dja wurrung, language maps, victorian missions and reserves, lake condah, framlingham, coranderrk, ramahyuck, lake tyers, wahgunyah, cummeragunja, moonahcullah, balranald, ebenezer, maloga, acheron

The Eltham Community and Reception Centre was Australia's first public mud-brick building. Commissioned in 1977 by Eltham Shire Council, led by Shire president (and architect) Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. The official opening was performed by the Hon. R.J. Hamer; E.D., M.P., Premier of Victorai on Saturday, April 22, 1978. Architects: Whitford & Peck Pty Ltd Quantity Surveyor: D.J. Cant & Associates Structural Civil Engineers: Charlett & Moore Pty Ltd Landscape: Peter Glass, Dennis Edwards Mech Elec: Lobley Treidel & Partners Pty Ltd Acoustics: Riley Barden & Kirkhope Builder: L.U. Simon Pty Ltd Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p177 The Wiggles performed there, so has the ABC’s Play School. New citizens have made their vows, volunteers have been honoured, school children have performed, weddings celebrated and people mourned at funerals. Since 1978 the Eltham Community and Reception Centre at the corner of Pitt Street and Main Road, has provided a beautiful and quintessential Eltham environment for people from all over Melbourne. Recognised as Australia’s first public mud-brick building, the centre was built partly on the site of the parsonage of the former Methodist Church (now the Uniting Church).1 Commissioned by the Eltham Council headed by President Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. Following public consultation, it was agreed to build a centre for dances, exhibitions, films, plays or concerts. The results – at a cost of around $620,000 – captured the Eltham rustic style. The building – in soft tones of mud-brick and timber and immense floor-to-ceiling windows – overlooks the Diamond Creek and sporting fields. Eltham’s strong artistic heritage is reflected in the centre. Although the lighting is not ideal for a gallery and labels cannot be placed on walls, the centre hosts the Nillumbik Art Awards and displays around ten to 20% of the Nillumbik Shire Art Collection, usually for around a year at a time.2 On permanent display, close to the entrance, is local artist Clifton Pugh’s White Choughs in the Landscape. Further to the right is the Walter Withers Gallery, named after a local member of the Heidelberg School of artists. As part of the Eltham Gateway opposite the Eltham Hotel, the centre stands on what was once part of the Eltham Town Centre along this section of Main Road, then known as Maria Street. On the same site once stood the house and flour mill owned by Henry Dendy, best known as the founder of Brighton, although he lived longer in Eltham. Beside the drive is a wheel-rim tool with accompanying plaque, illustrating a technology important during the horse-powered age and now almost completely gone, as has the blacksmith’s shop that had housed it nearby. The implement is a platform for fitting iron tyres to the wooden rims of cartwheels. Beneath it is a capsule placed in 1985 to commemorate Victoria’s 150 years, which is to be opened in 2035. Although the plants, forming part of the landscaping by Peter Glass and Denis Edwards, are largely indigenous and other native species, some exotic plants are protected as an important link with the site’s past. Planted at the front around 1920, is a large Peppercorn tree with two joined trunks growing from the base, and close by is a Bhutan Cypress (Cupressus torulosa). Three other Peppercorn trees fringe the drive. The building includes two halls – the larger seating 250 people – and a large foyer overlooking trees and ovals. Both halls have retractable rear walls providing varying spaces as required, and guests can use several external decks. A site for outdoor theatre has been carved out of the natural slope outside the entrance. The Bricklayers Union refused to use the traditional mud-bricks, which weigh more than 22kg. As a result the mud-bricks were redesigned to reduce their weight and were laid back-to-back to produce a wall of normal thickness.3 The centre’s massive timber frame is reminiscent of timber bridge construction, with infill panels of mud-brick.4 In accord with the rustic style are colossal rough-sawn posts, bolts and steel brackets. The combination of mud-brick, exposed feature timber framing and creative design in this centre, characterises Eltham’s innovative buildings and the social movement behind them from the 1940s to the 1970s.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham community and reception centre, mudbrick construction

"Who would have thought that a boy born in 1889 from the Victorian Mallee would become a successful artist on New York’s Staten Island? This finely illustrated, exhaustively researched and beautifully written biography on Leason features the artist’s entire career as a painter and cartoonist renowned for his depictions of Australian society in the 1920s and 1930s. Leason’s story is a poignant one tracing his beginnings as a cartoonist, to the bohemian Melbourne art scene in the early 20th century, to his involvement in the artists’ camps of Eltham, to his important series of portraits of Lake Tyers Indigenous Australians, and his eventual move to the US where he has been acknowledged as making an enormous contribution to the New York arts scene. This story, as yet untold, fills a gap in the history of art in Australia and offers a new perspective on Australian art in the first half of the 20th century." - Thames and Hudson website A NEW HOME IN ELTHAM Once they had settled back into Melbourne, Perry and Belle began to look for a place to make a permanent home. Having enjoyed the bush setting of Mosman, they decided to explore the rural fringes of Melbourne. Each weekend they packed a picnic and travelled to the towns in the nearby hills - such as Ferntree Gully, Sassafras, Lilydale and, of course, Cockatoo Creek. Eventually deciding these places might be a little too far from The Herald office, they searched closer to the city. The Heidelberg and Box Hill regions that had inspired his old teacher McCubbin, had become busy, urban areas but further east, towards Warrandyte and Templestowe, there were still large tracts of bush. Finally they settled on Eltham, an area Percy knew very well, having often painted there with Jock Frater. Perry's old friend Dick McCann and his wife Margery had also settled in Eltham. The township was fifteen miles from Melbourne and serviced by an electric train that went to the central Melbourne station of Flinders Street, near where The Herald offices were located. Eltham was a small village in 1925, separated from Melbourne by the Yarra River, and surrounded by orchards and large tracts of bush. Small farms dotted the landscape and the main businesses revolved around ironmongers, blacksmiths, and farming supplies. Of particular appeal to artists was Eltham Park, a large expanse of bushland bounded by the Yarra River on the south side and the Diamond Creek on the east. The park included a playing field that was busy on weekends with cricket or football matches, but for the rest of the week it was mostly empty and an ideal place to paint. The scenery there provided the inspiration for many paintings by Leason, Meldrum and other artists such as Colin Colahan and Peter (A.E.) Newburv. The Leasons found a rundown old farmhouse on four-and-a-half acres of land in New Street, now known as Lavender Park Road. The site was splendid, at the top of a gentle slope which gave panoramic views east to the Dandenong hills, south over the Templestowe orchards and north to Kinglake. The front lawn was taken over by onion grass (or wiregrass as Leason called it) and scattered about the property were many wattles and gum trees. Aloe cacti covered much to the front of the house, while old quince and lucerne hedges separated the house and out-buildings from a rundown apple orchard. Here they would build a new home. ·with financial assistance from The Herald, Leason bought the property and immediately commissioned an architectural firm to design a new house in the popular bungalow style of the time. The old farm house was demolished but Percy saved the siding boards, bricks and corrugated iron for the outbuildings of his new home. The new house was a two storey, triple brick with a large, gabled, terracotta tiled roof. It was situated at the very top of the slope. The paint and varnish were barely dry when the family moved in during the summer of 1925-26 and the fumes were overpowering in the heat. Despite the house being wired for electricity, power poles had not yet reached the area and initially the family had to rely on kerosene lamps and candles. When electricity did arrive, Leason reflected on the community's reception of electricity at the expense of the old growth gum tree corridors in his cartoon, Electricity comes to Wiregrass. The family had now grown to seven. Jack was nearly nine, Jean was seven, Marjory was four, Nancy was two and the baby Patricia was seven months old. Jack and Jean were enrolled in the local primary school down the hill. A retired farmer, Jock McMillan, came to live on the property and help out with the general maintenance. Jock built himself a shack and Belle provided him with meals. He was kept occupied building structures around the property·, such as the garage, the outside toilet, garden beds, trellis arbours and a number of ponds. The elderly, bearded Scotsman with his old hat and baggy pants also provided the inspiration for one of the characters Leason regularly included in his cartoons. Like Leason, Jock smoked a straight stemmed pipe. A neighbour was employed to help Belle with domestic chores, and so the family settled down to live comfortably in their new Eltham house. Two dogs, Maginary and Wodger, completed the large and vibrant household. “Percy Leason; an artist’s life” by Margot Tasca, Thames & Hudson Australia Pty Ltd, Port Melbourne 2016, pp 63-64 Hardback Bookpercy leason, margot tasca, biography, artist, landscape

Located on the north side of Bridge Street at the intersection with Bolton Street, facing Bolton Street (now part of present day Brisbane Street and occupied by the Kitchen Design Centre). Show's an original early settler's cottage in Bridge Street. The cottage was built by Mrs Mary Jane Smart's parents, Edwin Bailey and Jane (nee Matthews). Mary Jane Smart was born in the cottage. She married an Englishman, Alexander Wilson Smart who disappeared to Western Australia in the early 1900s in search of gold. He ultimately married again in W.A., committing bigamy and then committed murder and was hung in 1911. This photo was taken c.1903 not long before both Mrs Bailey and her grand daughter both passed away. Jane Bailey died 2 Dec. 1904 and Mary Jane Smart and Ruby Jane Bertha Smart died July 1903 are all buried in Eltham Cemetery. SMART'S HOME AT ELTHAM. HIS WIFE AND SONS. In a little bush cottage surrounded by tall gum trees, through which appear glimpses of a willow fringed creek, of road ways hedged by masses of snowy flowering hawthorn, of growing crops and vividly green grazing paddocks, lives Mrs. Smart, the lawful wife of the man who is now in the hands of the police of Western Australia on suspicion of having committed a dreadful crime. Here, about half a mile out of the picturesque village of Eltham, she was born, and has lived her whole life — about 50 years. Smart himself lived here till the time when many years ago, the "lure of gold" got into his blood and he cleared out to Western Australia, to follow the digging rushes, gradually becom ing more and more estranged, till at length all communication ceased and be became lost to his wife and children. "I did not want him to go away," said Mrs. Smart, "because I had heard of so many men who had forgotten their homes in the excite ment of gold seeking, and of many others who died unknown and uncared for. But he would go, and when I saw his mind was set on it I placed no obstacles in his way. My parents built and lived in this cottage, where I was born, and they died in it. When I grew up I met my husband, a young Englishman, and married him. His name is Alexander, not Alfred, and his age is 52. We were very happy here, and although we were not well off we were comfortable, for he was a steady, sober, industrious man and had constant employment. He was just a manual worker, but could turn his hand to anything. We had five children, but one died. Four sons grew up in this little cottage. Thus three generations lived in it, somewhat unusual in an Australian bush home, I think. My eldest son is married and has a family; one is in Western Australia— not with his father— another is away working for him self, and one (indicating a young man by her side) has always stuck to his mother. He is my sole support, and he is as good to me now as his father once was. Yes, his father was a good, home-loving man in our younger days. He was fond of his children and was highly respected in these parts.' "It is fifteen years since my husband went away first. He had then been work ing for the Metropolitan Board of Works, and was engaged in the tunnel under the Yarra near Queen's-bridge when it col-lapsed. After he went to the West he sent me money regularly and wrote constantly. He came home three times — twice for a week or two at a time, the third time, eight years ago, when the Eitham railway was nearing completion. I induced him to stay till the railway opened, and he re-mained with me several months. I tried to get him to leave the West and settle down in his home, but he would not; he seemed restless and anxious to be off. One day when we were in Collingwood together he left me, saying he wanted to see what boats were going West. I implored him not to go away, and he said he would see. However, he returned to me soon after wards and said he had taken his ticket and would go by the next boat, and he went. For a year he wrote at irregular intervals, and then his letters ceased and I heard no more of him. For seven years I have not known whether he was alive or dead. Before that time my two sons in Western Australian used to see him some times, though they did not live with him; they used to tell me in their letters that he was well. It was a hard blow to be forgotten by him, but as my sons grew up I became more reconciled, and now I seem to look back at my life with him as some thing that happened a long time ago and is only a memory. Of his life and doings in Western Australia I know nothing. The last time I heard of him he was working in a foundry at Midland Junction. He was at Cue working on the railway when it opened there, and he caught the fever, but all that time he sent me money. When he returned the first time he took our eldest son with him, and the other boy followed later. They did not stay with him, how ever, and as far as I know they did not know how he lived." 'Mrs. Smart is a quiet, toil worn woman who has the respect of everyone who knows her.Roll of 35mm colour negative film, 3 strips Associated print from negative (Copy of original print)Fuji 100bridge street, cottage, smart home, houses, mary jane smart (nee bailey), smart family home, alexander wilson smart, bigamy, bush cottage, early settlers, eltham, jane bailey (nee matthews), murder, ruby jane bertha smart

Believed to be Mrs Jane Bailey (nee Matthews) (d. 1904) and her grand-daughter Ruby Jane Bertha Smart (1890-1903) in front of the Smart family cottage in Bridge Street, Eltham, c.1903 Located on the north side of Bridge Street at the intersection with Bolton Street, facing Bolton Street (now part of present day Brisbane Street and occupied by the Kitchen Design Centre). Ruby Jane Bertha Smart born abt 1890 died in 1903 in Eltham. Her brother Alfred Francis Smart was born abt 1887 and died 1966 in Mont Albert, Vic. (Accessed via Ancestry.com) Show's an original early settler's cottage in Bridge Street. The cottage was built by Mrs Mary Jane Smart's parents, Edwin Bailey and Jane (nee Matthews). Mary Jane Smart was born in the cottage. She married an Englishman, Alexander Wilson Smart who disappeared to Western Australia in the early 1900s in search of gold. He ultimately married again in W.A., committing bigamy and then committed murder and was hung in 1911. This photo was taken c.1903 not long before both Mrs Bailey and her grand daughter both passed away. Jane Bailey died 2 Dec. 1904 and Mary Jane Smart and Ruby Jane Bertha Smart died July 1903 are all buried in Eltham Cemetery. SMART'S HOME AT ELTHAM. HIS WIFE AND SONS. In a little bush cottage surrounded by tall gum trees, through which appear glimpses of a willow fringed creek, of road ways hedged by masses of snowy flowering hawthorn, of growing crops and vividly green grazing paddocks, lives Mrs. Smart, the lawful wife of the man who is now in the hands of the police of Western Australia on suspicion of having committed a dreadful crime. Here, about half a mile out of the picturesque village of Eltham, she was born, and has lived her whole life — about 50 years. Smart himself lived here till the time when many years ago, the "lure of gold" got into his blood and he cleared out to Western Australia, to follow the digging rushes, gradually becom ing more and more estranged, till at length all communication ceased and be became lost to his wife and children. "I did not want him to go away," said Mrs. Smart, "because I had heard of so many men who had forgotten their homes in the excite ment of gold seeking, and of many others who died unknown and uncared for. But he would go, and when I saw his mind was set on it I placed no obstacles in his way. My parents built and lived in this cottage, where I was born, and they died in it. When I grew up I met my husband, a young Englishman, and married him. His name is Alexander, not Alfred, and his age is 52. We were very happy here, and although we were not well off we were comfortable, for he was a steady, sober, industrious man and had constant employment. He was just a manual worker, but could turn his hand to anything. We had five children, but one died. Four sons grew up in this little cottage. Thus three generations lived in it, somewhat unusual in an Australian bush home, I think. My eldest son is married and has a family; one is in Western Australia— not with his father— another is away working for him self, and one (indicating a young man by her side) has always stuck to his mother. He is my sole support, and he is as good to me now as his father once was. Yes, his father was a good, home-loving man in our younger days. He was fond of his children and was highly respected in these parts.' "It is fifteen years since my husband went away first. He had then been work ing for the Metropolitan Board of Works, and was engaged in the tunnel under the Yarra near Queen's-bridge when it col-lapsed. After he went to the West he sent me money regularly and wrote constantly. He came home three times — twice for a week or two at a time, the third time, eight years ago, when the Eitham railway was nearing completion. I induced him to stay till the railway opened, and he re-mained with me several months. I tried to get him to leave the West and settle down in his home, but he would not; he seemed restless and anxious to be off. One day when we were in Collingwood together he left me, saying he wanted to see what boats were going West. I implored him not to go away, and he said he would see. However, he returned to me soon after wards and said he had taken his ticket and would go by the next boat, and he went. For a year he wrote at irregular intervals, and then his letters ceased and I heard no more of him. For seven years I have not known whether he was alive or dead. Before that time my two sons in Western Australian used to see him some times, though they did not live with him; they used to tell me in their letters that he was well. It was a hard blow to be forgotten by him, but as my sons grew up I became more reconciled, and now I seem to look back at my life with him as some thing that happened a long time ago and is only a memory. Of his life and doings in Western Australia I know nothing. The last time I heard of him he was working in a foundry at Midland Junction. He was at Cue working on the railway when it opened there, and he caught the fever, but all that time he sent me money. When he returned the first time he took our eldest son with him, and the other boy followed later. They did not stay with him, how ever, and as far as I know they did not know how he lived." 'Mrs. Smart is a quiet, toil worn woman who has the respect of everyone who knows her.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 Neg Original print 10.5 x 16.5 cmFor postcard print: Inscribed on envelope: "Return to Mrs H. Butherway, 22 Bridge St, Eltham." Also "Photo Mrs Clark Hampton (nee Smart), original Smart's house - Bridge Street, 95 years ago." Also "Right - Mrs Clark's grandmother Mrs J Smart Left - Her daughter Ruby dies soon after photo taken. Brother Alf Smart died about 6 years ago." Inscribed on back of photo "247 Vincent St, Leederville" It is believed that this inscription may be somewhat mixed up.sepp, shire of eltham pioneers photograph collection, eltham, bridge street, alexander wilson smart, bigamy, bush cottage, early settlers, houses, jane bailey (nee matthews), mary jane smart (nee bailey), murder, ruby jane bertha smart, smart family home, smart home

The early settlers of Victoria depended on horse drawn vehicles to farm, make roads and railways, deliver produce and transport people. Horse harnesses were an important requisite for all drivers and could be found wherever there were working horses. Horse Harnesses have played an essential role in different cultures throughout history. Simple, utilitarian horse harnesses made of leather straps and iron rings were being used in early China before AD 500 as well as ancient Greece and Rome, allowing horses to pull chariots and ploughs. The Greeks and Romans were the first to use a "horse collar" which distributed the weight of the harness evenly across the horse's chest rather than relying on a "throat harness" that could damage a horse's throat or choke them. During the medieval period, European horse harnesses became more elaborate and decorative. Variations of different horse harnesses were also found in Native American and Middle Eastern cultures. Horse Harnesses usually have four basic components which include - 1. Communication - the bridle, bit and reins allows the driver to communicate instructions and commands to the horse, guiding its movement and direction. 2. Draft - the collar, hame straps, hames, traces and chains enables the horse to draw and pull the load efficiently by distributing the weight and transferring the pulling force to the vehicle. 3. Stopping - the breeching band, pole straps and breast strap helps to control or stabilise the horse and vehicle when moving downhill or stopping. 4. Support - the back pad, backband, belly band and back saddle keep the harness in the correct position and proper alignment. This show harness was used by Mr. Andy Bourke when showing his Clydesdales at shows or demonstrations. Although a more modern example with decorative embellishments, it still has many essential components traditionally found in an everyday working horse harness. The original purpose of the "housen" for example, was to run rain or drizzle off the horse's neck when they had to work in wet conditions - it was laid flat for this purpose on the top of the collar. Nowadays it is purely for show and is often used to advertise a business or stud. Horse brasses and fly terrets were fastened to various parts of a horse's harness. In the early days they probably began as amulets to ward off evil and to bring good luck and continued to be used as a festive decoration. The heyday of horse brasses was between the years 1851 and 1900. Horse brasses are fastened to various parts of the harness with many of their designs being symbolic. The ornamentation on this harness (although not authentic horse brasses) are based on the horse brasses that were popular in the 19th century. This horse harness is a significant example of the equipment that was needed wherever heavy horses were being used - particularly in the early years of Victoria's settlement by white settlers. Harnesses such as this example were used with stage coaches, drays, farming equipment, delivery carts and personal transportation.A leather and metal horse harness used when showing a Clydesdale (or other breed of heavy horse). It is made up of a number of components. 1. Decorative leather cart saddle with two large cloth pads underneath (which have a scalloped leather and stud border), a raised leather pommel and a silver and red coloured metal back strap holder across the top. It has two symmetrical sets of ornamentation (silver hearts and circles) in the front and a wide strap or girth (with a maker's stamp reading "R. Mitchell Saddler") and buckle which attaches the saddle to the horse. 2. Pair of steel hames which are gently curved (to fit on a horse collar) and are topped with steel knobs. They have several steel rings and lugs (to hold straps and chains) and a "Made in England Warranted Steel" stamp. 3. Breeching harness which consists of a number of leather straps, chains and metal rings including a wide padded leather strap with a scalloped edge that sits on the back of the horse and a thick leather strap that goes around the hind quarters of a horse which is joined to the back strap with four shorter vertical straps and buckles. These straps feature silver and red patent leather trim and silver heart shaped ornamentation. The strap also features the maker's stamp of "R. Mitchell". 4. Decorative leather bridle with blinkers featuring the same silver and red patent leather trim on the cheek piece, brow band and throatlatch. It has a stainless steel "Liverpool Driving Bit" with a curb chain, a variety of decorative silver ornaments (rosettes, diamonds plus a heart and two circles) on each end of the forehead band, dropper and strap as well as a silver metal bell (sometimes known as a "fly terret" or "swinger") that sits on the headpiece of the bridle. 5. Leather "violin shaped" dropper (or hanger) with two silver rosette shaped ornaments and a stainless steel clip on the top 6. Stainless steel "Liverpool Driving Bit" with a straight mouthpiece which is ribbed on one side. It has three rein spots (spaces) and a curb chain. 7. Leather arch shaped "Housen" covered in black and red patent leather and decorated with silver studs (some spelling out F H) and bordered with a red fringe. It has a leather strap at the back and two leather loops on the front. 8. Leather padded backband (Australian style "Stallion Draught Roller") decorated with two groups of nine metal "horse brasses" or harness ornaments displaying horseshoe, starburst and horse head designs on blue, red and white striped webbing. The backband has three notched straps at each end, a buckle near the centre and the initial B stamped in two places underneath. 9. Bellyband made of leather and red, white and blue striped webbing. It has a set of three buckles at each end (which correspond with the notched straps of the backband). 10. Wide, thick leather strap which has a buckle and notches at each end. It also has the maker's stamp of "R. Mitchell Saddler". 11.One pair of long leather traces - each with a buckle and notched loop at one end, decorated with a small silver diamond shaped harness ornament. 12. Length of stainless steel heavy duty chain with two swivel connectors.Saddle - "R.MITCHELL / SADDLER" Hames - "MADE IN ENGLAND / WARRANTED / STEEL" "MADE IN ENGLAND / WARRANTED / unclear" Breeching Straps - "R. MITCHELL / MAKER / R. MITCHELL MAKER" Housen - "F H" Backband "B / B' Wide leather strap - "R. MITCHELL / SADDLER"flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, harness, horse harness, show harness, clydesdale horses, andy bourke, horse drawn cart, housen, bridle, hames, breeching straps, dropper, bit, liverpool bit, backband, harness ornamentation, bellyband, back saddle, fly terret

BHS CollectionWaist length dark green cotton bodice. Fabric has alternating stripes of pulled thread pattern and wider stripes of small dot pattern. Front opening with deep V to waist with lined lace insert extending from throat to waist. LHS of bodice fastened to lace insert with five press studs. Stand up collar of lined black lace (%cm) fastened with two hook and eyes. The bodice is made from five pieces. The two front sections have three knife pleats facing out and falling from the shoulder. The pleats are stitched down for twenty cms from the shoulders. On either side of the front opening is decorative embroidered black lace that extends across the shoulders to the back of the collar. There are two side panels from under the arm. The back section has three box pleats falling from the collars and tapering to the waist. The hem of the bodice is fastened with black cotton tape. Leg of mutton sleeves are trimmed with black embroidered brais at elbow and wrist. Lower sleeves have pintucks from elbow to wrist. The sleeves are lined with black cotton fabric. The back of the bodice is lined with black cotton fabric almost to the hem. A three cm piece of white and blue cotton tape is attached across the lower back with cotton ties at either end. The underarm panels are lined with brown cotton fabric and green satin inserted sections. The front has a separate lining with front opening and shaped with darts. Fastened with six buttons and buttonholes. Two shoulder pads on each side- one white piece under the shoulder and a green satin piece under the gathered section of each sleeve. Dark green full length skirt. Cotton fabric with alternating stripes of pulled thread pattern and wider stripe of small dot pattern. Skirt is made of three sections. Centre front panel widens slightly to hemline. Side panels continue around to join at centre back. Darts at both hips to shape sides. Panels widen to hemline. Inverted pleats at either side of back opening create fullness. Back opening(30cm) has insert of black satin joined to LHS of opening to enlarge the opening. Insert attached to waist band with two press studs. Two other press studs attach skirt to RHS of insert. Brown cotton waistband hand stitched to skirt. Ties attached to waistband at back opening- one cotton tape, one satin ribbon. Front centre panel has a piece of black satin stitched as lining from eighteen cm below waist (57cm deep). Stitched across and attached to side seams. Lower edge trimmed with black lace. Second piece of satin lining stitched to centre seam and stitched around the hip to partway across back.(Looks like a nylon petticoat cut in two pieces and stitched inside skirt as a lining). Hemline has fifteen cm piece of cotton lining attached and lower edge of hem has fringed cotton binding attached.. Side seams of front panel have decorative trim of embroidered braid extending seventy-six cms from waist. Braid then turned ninety degrees and continued in a horizontal zig zag line around to centre back seam (both sides) twenty cms above hem. Hand and machine stitched.costume, female, ladies dress- bodice.

ELTHAM’S GROWTH HAS BEEN RAPID IN RECENT YEARS Unknown local paper c.1960s Recent years have seen a rapid change in the appearance of Eltham’s business centre - so rapid, in fact, that the growth of premises has been almost 300%. For more than thirty-five years Eltham had little more than a dozen traders - the town's business area spreading from Pryor Street in the north, to Pitt Street in the south. The greatest density of businesses - no more than a handful of shops - were situated in the present shopping centre but other essential services such as the Post Office, were located half a mile away. As the town's population grew and the need for more shops became apparent, the growth was centralised around the railway station and Shire hall. Few of the old premises are used for their original form of business today, though many are still in existence. One of the oldest (seen clearly in the illustration) still in use is now Ferrari's Greengrocery. This shop was Eltham's butchery in early days, conducted by Jim Ryan. Up to twenty years ago, Mr. Ryan ran his business from the shop. whilst his son toured Eltham in his horse and cart, cutting his customers' orders as he went from door to door. Another business - one of the few still trading in the same goods-was Burgoyne's Hardware. This is now owned by Mr. R. Clinton, a new shop has recently been added and shortly the old premises will disappear completely. The Burgoyne family were well known to Eltham's population. The Post Office and Store (then in Main Road, near Bridge Street) was run by Mr. and Mrs. Burgoyne. The Post Office was later moved, and attached to the hardware store. OLD HOTEL In this same area was the old Eltham Hotel, almost opposite the present hotel. The building still stands, but has been converted into a house. The hitching rail can still be seen by the roadside. Back in the township was Barber's Blue Gum store, later conducted by Mrs. Burges (mother of Garnet Burges) and claimed to be Eltham's oldest shop. Further down the road, just past the hardware store, was the barber shop and billiard saloon. Next door was E. J. Andrew's news agency, library and State Savings Bank. Eltham's original chemist's shop, or dispensary as it was called, is now an electrical repair shop. On this side of the street too, was Mrs. Monteith - Draper. Mr Monteith was the owner of Eltham' s bus service. This bus service had no regular route, but deposited passengers at the point nearest their homes - a. door to door taxi service. Next to Mrs. Monteith stood another grocery - and general store, and next again, the local blacksmith. Another of Butcher Ryan's sons was Eltham's blacksmith and obviously an enterprising man he conducted a timber business next door to his smithy's shop. These two premises are still run by one man - Garnet Burges. BOOM STARTS Twenty years ago, when Thompson's took over Eltham's pharmacy they occupied the old shop adjoining the Shire hall. The building of Thompson's new premises, from which· they operate today, was the beginning of Eltham's recent growth and development. With another grocery store and a bakery at the corner of York Street, a butcher near Franklin Street, a cobbler's shop opposite the State School (did you ever wonder what that-little building attached to one of Eltham's oldest houses had been?), and an estate agency conducted by Mr. Clark, now Eltham Real Estate - only one trader remained - and today, still carries on, the only original owner of one of Eltham's .oldest established businesses - Mr. Dave Lyon, of Lyon Bros. Garage, which was formerly located in what was later used as Chenowyth's Foundry in Main Road. From the early twenties until little more than six or seven years ago that was the picture of Eltham. Some businesses had changed hands - many years before Mr. C. Rains had acquired Andrew's news agency, Mrs. Monteith's drapery had become Mrs. R. Smith's home-made cake shop, to change again and again to many other types of business. But generally, Eltham was unchanged, for nearly thirty years. Then suddenly new shops mushroomed. The new news agency and drapery, the chemist and adjoining shops, a new butcher, a green grocer and several more. POPULATION DOUBLED In the space of a few years, fifteen new shops, two banks, a restaurant and a post office were built at Eltham. New types of businesses found a ready market in an area which was quickly almost doubling its population. A little over twelve months ago, another wave of progress hit Eltham. Since then eight more shops have been built - a cake shop and fish shop in Dalton [sic – Dudley] Street - for building areas are unprocurable in the Main Street shopping centre now – have been built by Mr. D. Kimball; a new ladies’ and children’s wear shop has been opened by Rains; Eltham Dry Cleaners have another of these new shops, and Mr. R. Clinton has built elaborate new premises. Further down the road, Mr. C. Campbell has built a new butcher's shop, and next door, at present under construction, are a self service store and a shop which Mr. J. Hodges will open on completion. In addition to these new shops, Mr. J. Millett has extended his grocery to almost twice its original size. FLOURISHING Outside the central area, other businesses are flourishing. Latimer's felt factory is being developed in a picturesque rustic setting; P. J. Timber and Trading Company have recently completed a large showroom and timber yard, and in the town itself Nicholson and Merritt are now completing the extension of their foot wear factory to double its former area. This is Eltham today. Progress is moving rapidly in this rural area on the fringe of the metropolis. Less than a decade has seen vast development. The years to complete that span of time will see even greater changes and greater prosperity in this heart: of the Diamond Valley. OLD LANDMARK GOES Perhaps the most famous landmark in Eltham's' business section disappeared last Wednesday when the towering blue gum in Pryor Street at the rear of Main Road shops was felled. The tree, stated to be more than 80 feet high, was the one for which the adjoining café was named, when that business was Eltham’s only provision store, long before the turn of the century. Mr. J. Millett, who now owns the property on which the tree stood, deeply regretted its removal, but was mindful of the need for expansion in the business area. The "Old Blue Gum" was removed by Mr. A. Wilson, expert tree feller, from Heidelberg. Its proportions might be assessed by these facts – it took a gang of experienced men two days to completely fell and clear the tree, and, falling sections being brought down by cable tipped electricity wires on the opposite side of Pryor Street.andrew's news agency, bakery, barber shop, barber's blue gum store, billiard saloon, blacksmith, blue gum, burgoyne's hardware, butcher, cake shop, chemist's shop, chenowyth's foundry, cobbler's shop, dave lyon, dispensary, draper shop. mr monteith, dudley street, e. j. andrew's news agency, electrical repair shop, eltham bus service, eltham butchery, eltham dry cleaners, eltham hotel, eltham railway station, eltham real estate, eltham shire hall, eltham shopping centre, eltham shops, eltham town centre, estate agency, expert tree feller, ferrari's greengrocery, fish shop, foot wear factory, franklin street, garnet burges, general store, grocery, heidelberg, horace clark, jim ryan, ladies’ and children’s wear shop, latimer's felt factory, library, lyon bros. garage, main road, mr. a. wilson, mr. c. campbell, mr. c. rains, mr. d. kimball, mr. j. hodges, mr. j. millett, mr. r. clinton, mrs. burges, mrs. monteith, mrs. monteith's drapery, mrs. r. smith's home-made cake shop, nicholson and merritt, p. j. timber and trading company, pitt street, post office, pryor street, self service store, shopping centre, state savings bank, taxi service, thompson's pharmacy, york street

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Originally named Crofthead or The Croft Head, later changed to Balranald according to Melbourne Mansions database.From Victorian Heritage Database citation for HO136 13 Poath Street MURRUMBEENA https://vhd.heritagecouncil.vic.gov.au/places/35389 as at 30/10/2020 "Croft Head" is situated at no. 13 Poath Road, Murrumbeena, and was built in 1887 for the accountant Edward Tweddell. It is historically and aesthetically significant. It is historically significant (Criterion A) as a substantial and now rare (Criterion B) surviving late Victorian villa residence east of Booran Road within the Municipality and demonstrating the attraction of Melbourne's rural fringe as a residential location rendered accessible by the opening of the railway between South Yarra and Oakleigh in 1879. It is aesthetically significant (Criterion E) as one of the Municipality's finest late Victorian polychrome brick villas, comparing with ''Fresch'' and ''Monkleigh'' both erected in 1899 at nos. 11 and 12 Gladstone Parade, Elsternwick respectively, ''Hartington'' (1888) at 15 Gladstone Parade and ''Hengar'' (1889) at no. 356 Glen Eira Road, Caulfield South. Elements of stylistic significance include the ornamentation of the brickwork in polychrome work with tiled panels, the effect of the banding being especially striking and representative of the period.Page 166 of Photograph Album with three photographs of Balranald on Poath Road.Handwritten: "Balranald" 13 Poath Road [top right] / 166 [bottom right]trevor hart, decorative brackets, chimneys, verandah, porch, poath road, arches, cast iron columns, return verandah, croft head, balranald, victorian villa, restoration, 1880's, edward tweddell, murrumbeena, hughesdale, cast iron frieze, victorian style, cast iron work, rendered brick, house names, polychrome brick, poath street, crofthead, the croft head

black and white print flyerthe heartbreak kid, athenaeum theatre, program, programme, spoleto fringe festival, elston hocking & woods, nick giannopoulos, richard barrett

The one-man show was presented by Glenn Elston, Greg Hocking and Tim Woods starring Tom Barlow's one-man show.The performance was part of the Melbourne Fringe Festival for 1990.black ,pink and white coloured program in good conditionmy army, program, theatre de complicite, melbourne fringe festival, tim barlow, athenaeum theatre two

Eltham was a creative hub during the twentieth century, attracting innovative visual artists, architects, writers and film makers to collaborate, forging lifelong friendships and artistic legacies. Skipper produced this bronze sculpture of friend, Composer George Dreyfus for the then Shire of Eltham Art Award. Matcham Skipper (b.1921 NZ - d. 2011 Melb.) was a renowned local sculptor, jeweller and builder and an accomplished teacher, designer, ironworker, and photographer. His work is held by many museums and public collections in Australia and overseas. He was a long term resident of Montsalvat in Eltham with his family deeply involved in the building and evolution of this artists colony, which was the vision of architect and painter Justus Jorgensen. George Dreyfus (b.1928 Germany - arrived 1939 Aus) is an Australian contemporary classical, film and television composer. He has composed numerous film and television scores, including Tim Burstall's 'The Adventures of Sebastian the Fox' (1963), 'A Steam Train Passes' (1974), 'Rush' (1974), 'Dimboola' (1979) and 'The Fringe Dwellers' (1986). It was the score for 'Rush' which brought him wider recognition. He has written four operas, two symphonies, chamber music and film scores spanning five decades. Dreyfus is well known for having worked with the late director, writer and producer Tim Burstall, a key figure in Australian postwar cinema and local who lived in Eltham. Burstall was instrumental in rebuilding the Australian film industry in the 60s, creating groundbreaking Australian films including 'Stork' and 'Alvin Purple'. Figurative bronze bust of well known Australian composer George Dreyfus. He is wearing a shirt underneath a sweater. His left arm/hand is placed over his chest. His eyes are half closed as if immersed in the music. A green patina can be seen in areas on the sculpture. Signature and date cast (incised with tool) onto the back shoulder blade: 'MATCHAM SKIPPER 1987'ek prac 2015, montsalvat, eltham, george dreyfus, matcham skipper, bronze, bust, tim burstall, sculpture, rush

Heavy off-white white open crocheted cot cover or throw. The item has a central hexagon, surrounded by smaller row of hexagons, surrounded by a third row of larger hexagons. cot covers, baby shawls, crochet, throws