From a box of photographs in Nancy U'REN's papers used during research for her thesis, The Early Growth and Development of Sandridge (1976) and/or her book with Noel TURNBULL, A History of Port Melbourne (1983). The print was probably made by her son, Andrew U'REN, and he may have also taken the photograph.Black and white photograph of the blocks of Housing Commission flats at the corner of Ingles and Crockford Streets viewed from Ingles Street. Large white border at the bottom.A star in blue ink at the bottom left corner and details of photographic paper type and exposure details on the reverse.built environment - public housing, ingles street, crockford street, built environment - domestic, raglan street housing commission of victoria flats, nancy u'ren nee morris

From a box of photographs in Nancy U'REN's papers used during research for her thesis, The Early Growth and Development of Sandridge (1976) and/or her book with Noel TURNBULL, A History of Port Melbourne (1983). The print was probably made by her son, Andrew U'REN, and he may have also taken the photograph. The photograph includes two people on the median strip. It is unclear what they are doing or what has happened just before the photograph was taken. One person is kneeling closely over the other who appears to be lying on their back.Black and white photograph of the Raglan Street Housing Commission flats at the corner of Ingles and Crockford Streets viewed from Crockford Street. Large white border at the bottom.Details of photographic paper type and exposure details in blue ink on the reverse.built environment - public housing, ingles street, crockford street, raglan street housing commission of victoria flats, built environment - domestic, nancy u'ren nee morris

From a box of photographs in Nancy U'REN's papers used during research for her thesis, The Early Growth and Development of Sandridge (1976) and/or her book with Noel TURNBULL, A History of Port Melbourne (1983). The print was probably made by her son, Andrew U'REN, and he may have also taken the photograph.Black and white photograph of No 13 and No 11 Southward Avenue with other houses in the street also visible in the photograph.built environment - domestic, dunstan estate, southward avenue, nancy u'ren nee morris

From a box of photographs in Nancy U'REN's papers used during research for her thesis, The Early Growth and Development of Sandridge (1976) and/or her book with Noel TURNBULL, A History of Port Melbourne (1983). The print was probably made by her son, Andrew U'REN, and he may have also taken the photograph.Black and white photograph of houses in Williamstown Road, Garden City. There is a large white border at the bottom and the top part of another image."OK" and "Williamstown rd" in blue ink on the front and type of photographic paper and exposure details on the reverse.built environment - domestic, williamstown road, garden city, nancy u'ren nee morris

From a box of photographs in Nancy U'REN's papers used during research for her thesis, The Early Growth and Development of Sandridge (1976) and/or her book with Noel TURNBULL, A History of Port Melbourne (1983). The print was probably made by her son, Andrew U'REN, and he may have also taken the photograph.Black and white photograph of The Quartets in Williamstown Road. There is a large white border at the bottom."OK" and "Williamstown rd elderly citizens flats" in blue ink on the front. Type of photographic paper and exposure details on the reverse.built environment - domestic, williamstown road, the quartets, nancy u'ren nee morris

Flyer expresses residents concerns on proposed new increased heights and number of dwellings for the development which replace the low rise Ministry of Housing Sandridge Estate that had occupied the site since 1982.Half A4 size flyer has blue and red text on a white background and a photo of a tower block on the cover with '11storeys!!!'barak beacon, built environment - domestic

House built in the inter-war period. Council approved a four 3 storey development with 8 on-site car parks in 2008. It was appealed to VCAT but unsuccessfully and the house was demolished in December 2010. Fire destroyed much of the building prior to ademolition.Colour photograph of Ron in porch at 51 Esplande West, Port Melbourne.built environment - domestic, built environment - demolition, esplanade west

This is a facsimile copy, produced by Masters of Architecture Students at the Melbourne School of Design University of Melbourne, 2017. This feature correspondence, newspaper articles, and other material concerning the development of Appletree Hill Housing Development, Glen Tower Drive, Glen Waverley, 1966. In 1965 Lend Lease Homes commissioned Robin Boyd to design six brick veneer houses. They were built as a display village at Appletree Hill.A facsimile of an booklet to advertise Lend Lease homes designed by Robin Boyd.appletree estate, architecture, domestic architecture, housing estate, walsh st library

Karl Duldig’s ceramic bowl is a particularly interesting example of Karl’s ability to creatively respond to a new environment with a fresh visual repertoire, in this case, the flowering Eucalyptus in a design reminiscent of traditional European folk art. The bowl is an excellent example of the utilitarian and decorative studio pottery produced by Karl and his wife Slawa Horowitz-Duldig between 1944 and 1960. Clay was an important medium for Karl. When he was forced to flee Austria for Switzerland, working with clay became a convenient medium; and he continued to expand his use of clay in Singapore. In Australia his work in clay extended from domestic hand-made pottery to public sculptures and architectural reliefs. In 1944 Duldig purchased a kiln, which was installed in the garage of the family’s St. Kilda flat, soon after a pottery wheel was acquired. It was the beginning of a cottage industry that supplemented the family income during the war years and beyond. Duldig initially sold his decorative ceramic wares through a local florist in St. Kilda, and subsequently through shops such as the Chez Nous French Art Shop (Howey Place) and Light and Shade (Royal Arcade), and the Primrose Pottery shop in Collins Street. The Primrose Pottery shop was an extremely important commercial outlet, and hub, for emerging artists, potters and designers from 1929 until 1974. Its proprietors Edith and Betty MacMillan worked closely with their suppliers, commissioning and taking items on consignment. In the post war period important Melbourne studio potters such as Allan Lowe, Arthur Boyd, John Perceval and Neil Douglas exhibited and sold domestic wares in the Primrose Pottery shop. The Duldigs studio pottery provides a counterpoint to the ceramics produced at Arthur Merric Boyd Pottery in Murrumbeena, which was established in 1944 by Arthur Boyd, John Perceval and Peter Herbst. The emphasis on painterly decoration was important and the AMB potters also produced simple household wares decorated with Australian flora and wildlife, for example Neil Douglas also made small bowls decorated with the fairy wrens, lyrebirds, gumnuts and eucalypts. Ann Carew 2016The Duldig Studio’s collection of ceramics has national aesthetic and historic significance. It contains a representative sample of works of art in ceramics created by Karl Duldig during his lifetime, including small sculptures, as well as functional and novelty items for the tourist market during the 1956 Melbourne Olympic Games. The artist’s working methods and the development of his practice are comprehensively demonstrated in the collection. This in-situ collection demonstrates the philosophy of the Vienna Secession and its inheritors that handcrafted, simple functional domestic wares might enrich both the lives of the maker and the user. This bowl is part of a collection of ceramics that has national historic significance in providing a rich illustration of an immigrant and artistic experience, and touching on the themes of settlement adaptation of artistic practice. The collection is also associated with places of cultural and historical significance in Melbourne such as the Primrose Pottery Shop, and the story of Australian studio ceramics in the post-war years. Ann Carew 2016Cream earthenware bowl with flowering gum motif and sponged green background.Duldig in script incised under.

Jane Annois had a long involvement with Potters Cottage in Warrandyte, where she taught for many years. Potters Cottage was established in the late 1950s in Warrandyte as an artist co-operative. Founding members included Reg Preston, Phyl Dunn, Gus McLaren, Artur Halpern, Sylvia Halpern and Elsa Ardern. These talented artists had the ingenuity and foresight to create a teaching studio, gallery shop and restaurant to experiment, make, promote and sell predominantly domestic wares of the time. These activities helped financially sustain each member’s individual creative practice. Potters Cottage was influential in the development of contemporary ceramics, building and developing practices that experimented with traditional ceramic processes, raw materials and locally sourced clay. The group mentored and nurtured many interested in the art of ceramics, producing alumni and teachers such as Peter Laycock, John Dermer, Greg Daly and Jane Annois. Jane Annois is a ceramic artist who has lived and worked locally in Warrandyte for many years. She focuses primarily on exploring the art of Japanese raku, adapting the technique to develop the typical characteristics of crackle glazes and lustres, with contrasting areas of black. Jane also applies a fine slip called terrasigillata which gives soft, warm ochre colours. This technique was once used by the Greeks over 2000 years ago to seal and decorate their pots. She is also strongly onfluenced by the French potters, particularly in the style of terre vernissee, a decorative form of terracotta tableware. Three piece stoneware and raku fired ceramic sculpture. The first piece is a hollow, dome shaped object. It is orange (terracotta slip) in colour with a copper metallic band and a black edge on one side with a small yellow glazed rounded triangle and metallic strip of colour on the otherside. The second piece is shaped like a traditional vase. It is orange (terracotta slip) in colour with white crackle on the inside. It has a yellow slip edge with a dark glazed square on one side and on the other side a black thick edge that mirrors the contour of this shape. The third piece is shaped loosley in the form of the letter 'z'. It compliments the second piece with a yellow slip edge and black glazed square to its lower left side and top right as well as on its' other side a black thick edge that mirrors the contour of this shape. This piece has a very small skewed square opening at its' top. All three pieces have elements of crazing and variations of colour and lustre, caused by the raku process. 2006.52.1VA has the artist name/signature 'J. Annois' inscriped small (with fine point ceramic tool?) on the front of the piece, bottom right; 2006.52.2VA has the artist name 'Jane'? inscribed (unlegible - with fine point ceramic tool?) underneath; 2006.52.3VA has the artist name/signature 'Jane Annois' inscriped (with fine point ceramic tool?) inside its hollow form. evolution, raku, stoneware, terrasigillata, terracotta, glazes, slip, terre vernissee

The GE12 Electric Kettle was designed by Barry Hudson for General Electric and in 1978 won the Australian Design and the Prince Philip Prize awards for Australian Design. The kettle was innovative in many ways; it was an early example of an all plastic electric kettle with a single-handed opening-spout. According to design historian Ian Wong ‘The use of an integral hinge for the spout opening mechanism utilised the unique live hinge property of polypropylene, now common but at the time a novel use and very efficient to manufacture.’ The kettle was available in Carpentaria Orange, Blaze Yellow and Lime Green with a contrasting base. Barry Hudson (1935-2008) studied Mechanical Engineering at the Melbourne Technical College (MTC). In the 1970s he was Research and Development Manager at General Electric, and he also worked with the industrial design practice Rosenfeldt, Gherardin and Associates. He established Barry Hudson Industrial Design in the 1980s and began a teaching career at the former MTC, now known as RMIT University. Ann Carew, 2020 1978 the Kettle won an Australian Design Award and the Prince Philip Prize for Australian Design.Orange and brown electric kettlekettle, industrial design, rmit university, domestic appliances

North Kew, now divided between Kew and Kew East, bordered the Yarra River. As such, it was a region subject to flooding in the Yarra Valley. Development beyond this point (ie Kellett Grove) was limited by the City of Kew's planning regulations. Prior to urban development, the area since European settlement and the first land sales in the district in the 1840s, had been used for dairy farming. Vivid photograph contrasting domestic life and relationships with natural disasters such as the flood of 1934.Small sepia snapshot of a grandfather and granddaughter sitting in the backyard of 8 Kellett Grove, North Kew, with the floodwaters stretching behind them.Verso: GRANDDAD AND I IN BACKYARDyarra river -- north kew, floods -- yarra valley, floods -- north kew, floods -- 1934, natural disasters -- kew, willsmere road

North Kew, now divided between Kew and Kew East, bordered the Yarra River. As such, it was a region subject to flooding in the Yarra Valley. Development beyond this point (ie Kellett Grove) was limited by the City of Kew's planning regulations. Prior to urban development, the area since European settlement and the first land sales in the district in the 1840s, had been used for dairy farming. Vivid photograph contrasting domestic life and relationships with natural disasters such as the flood of 1934.Small sepia snapshot of two submerged houses belonging to local families in River Avenue, North Kew, during the 1934 floods. The view is presumably from near Kellett Grove looking north towards Fairfield.Verso: COES & HYATTS ROOF / RIVER AVENUE / Stamped: 6414yarra river -- north kew, floods -- yarra valley, floods -- north kew, floods -- 1934, natural disasters -- kew

North Kew, now divided between Kew and Kew East, bordered the Yarra River. As such, it was a region subject to flooding in the Yarra Valley. Development beyond this point (ie Kellett Grove) was limited by the City of Kew's planning regulations. Prior to urban development, the area since European settlement and the first land sales in the district in the 1840s, had been used for dairy farming. Vivid photograph contrasting domestic life and relationships with natural disasters such as the flood of 1934.Small sepia snapshot of the donors grandfather rescuing the family dog's kennel from rising floodwaters at the rear of 8 Kellett Grove, North Kew, .Verso: DAD SECURING NIPPY'S DOG KENNEL / Stamped 6414yarra river -- north kew, floods -- yarra valley, floods -- north kew, floods -- 1934, natural disasters -- kew

This item is from a collection donated by descendants of John Francis Turner of Wodonga. Mr. Turner was born on 6 June 1885. He completed all of his schooling at Scotts Boarding School in Albury, New South Wales. On leaving school, he was employed at Dalgety’s, Albury as an auctioneer. In 1924 John was promoted to Manager of the Wodonga Branch of Dalgety’s. On 15/03/1900 he married Beatrice Neal (born 7/12/1887 and died 7/2/1953) from Collingwood, Victoria. They had 4 daughters – Francis (Nancy), Heather, Jessie and Mary. In 1920, the family moved from Albury to Wodonga, purchasing their family home “Locherbie” at 169 High Street, Wodonga. "Locherbie" still stands in Wodonga in 2022. The collection contains items used by the Turner family during their life in Wodonga. This "lady’s" fruit knife was used up to the late 1900's by influential and "well off" ladies, not only as a fashion statement but as a practical tool when away from the kitchen/home to peel fruit and provide a cutting instrument for small items. The first true stainless steel was melted on August 13,1913. However, it did not produce blades that held an edge nor could edges be put onto blades easily so its inventor, Harry Brealey soon earned the reputation of being the inventor of the "knife that would not cut". Over the following decade further developments to the composition of stainless steel led to its wide use in the manufacture of cutlery.A small fruit knife with stainless steel blade. It has an ivory handle and a leather cover for the blade.On blade: Stainless Steel"cutlery, stainless steel, lady's fruit knife

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The Collection also depicts development of life in Wodonga through the eyes of one family, through a collection of artefacts, diaries, letters and photographs. This item is from the Hauseler Collection which documents social life of early settlers in the Wodonga community.An old wooden rocking chair, The chair was originally home manufactured from timber. The back slats have been repaired and replaced by metal slats attached at the top and base of the backrest section.early settlement wodonga, haeusler family of wodonga

The company R. Fowler Limited was established in Sydney, in 1837 when Enoch Fowler (1807-1879) came to Australia from Ireland and is known today as the oldest pottery still in operation in Australia. They were mostly known for producing bottles, jars, and pipes. The pottery was originally located at Abercrombie Place on Parramatta Street, Chippendale, NSW before they relocated to Glebe in 1847. Later the pottery manufactured building materials such as tiles, pipes, and chimney pots. As the business grew, they moved to Parramatta in the 1850s. Enoch's son Robert (1839-1906) had joined the company, and took over its management in 1873, changing the name to “R Fowler Sydney” in 1880. Robert opened further sites at Marrickville and Bankstown, with the company becoming R. Fowler Limited in 1919. The factory at Thomastown, Melbourne was opened in 1927 from which time the trademark on this bowl was used. An item made by an Australian company during the first half of the 20th century. The item is significant as it gives a snapshot of the early development of manufacturing companies in Australia. It is typical of kitchenware used throughout Australia during the early 20th centuryA small Fowler Ware mixing bowl produced by R. Fowler Ltd. Thomastown, Victoria with Maker's mark clearly imprinted underneath the bowl.Set in circle underneath the bowl "R. FOWLER LTD./ THOMASTOWN/VIC"kitchenware, r. fowler ltd, pottery australia

Johnson Bros. was founded by two brothers named Alfred and Frederick who purchased a pottery factory in Hanley, England, in 1883. They were grandsons of a renowned English potter, Alfred Meakin. They were later joined in the business by their brothers Henry and Robert. Their business grew rapidly, as they were one of the world's largest pottery factories by the turn of the 20th century. By 1970, Johnson Bros. obtained the Royal Charter to become the official provider of china for Her Majesty Queen Elizabeth II. More than 1,300 patterns have been created throughout Johnson Brothers' history. Due to their growing success, manufacturing plants were established overseas including the establishment of a tableware factory, Johnson Brothers Australia in 1957 in Croydon, Victoria operated through a company known as Sovereign Pottery Ltd. Due to rising competition, Johnson Brothers became part of the Wedgewood Group in 1968. In 2015, following the acquisition of Wedgewood by Finnish company Fiskars, the Johnson Brothers branding was discontinued. The trademark on this bowl was used by Johnson Brothers between 1913 and 1942. An item which reflects the changing market for tableware that was reasonably priced and serviceable. Their innovation of the pottery line called semi-porcelain changed the industry. This development allowed potteries to produce fashionable pottery items that were affordable to all social classes of the time. Their use became widespread in Australia, especially following their establishment of a tableware factory in Melbourne, Victoria. A shallow white bowl with gold trim, probably used for serving vegetables at the table. The underside of the bowl bears the mark of Johnson Bros England. The mark is composed of a green crown above the words "Johnson Bros England" also in green.On under side of bowl, beneath a green crown "Johnson Bros/England"johnson brothers ceramics, domestic utensils, kitchenware

This style of geared drill was commonly referred to as an egg-beater drill and was first patented in 1838. During the late 19th century these drills became more common due to the development of mass production. Users also began to mount the drill onto a frame. This allowed greater control over the drill and removed the need to be holding it in both hands. This gave the operater greater control over the item to be drilled. The drill could be easily removed when required. This item is an example of a domestic woodworking tool commonly used before the widespread use of power tools. The construction of the basic wooden frame also demonstrates the ingenuity of early pioneers and tradesmen in adapting tools to suit their own needs.A metal hand drill which has been mounted on to an improvised wooden stand. hand tools, mass production, egg beater drills

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. This digital image was produced from one of the glass negatives that form part of the collection, probably taken by Louis Haeusler (b.1887) with the photographic equipment in the Wodonga Historical Society Haeusler Collection. Thomas Hugh Maher, born 1881, was the youngest of 11 children of Owen Maher and Sarah nee Finn. After migrating from Ireland and marrying in Sydney in 1853, Owen and Sarah eventually made their home at “Fairview”, Bonegilla, Victoria in 1870. Owen later became a member of the first shire council formed in Wodonga. Thomas attended school at Bonegilla, then as a boarder at St. Joseph’s College in Sydney for his final two years. He returned to work on the farm until his father settled him on a small farm at Ebden. He married Jane Rowley from Bethanga. For some years Thomas and Jane conducted the general store and post office at Ebden which was next to their home ‘Marara”. When Jane died in 1916, Thomas leased “Marara” and moved to Melbourne. After marrying a second time, Thomas returned to Wodonga where he set up a real estate business. In about 1924, Thomas received compensation for his Ebden property when it was resumed for the development of the Hume Weir. He returned to Melbourne where he saw out the rest of his days until his death in 1952 aged 71 years old.This item is unique and has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.Digital image created from the Haeusler Glass negative collection. Thomas Maher and his wife Jane operated a general store at Ebden in Victoria.haeusler family, glass negatives, dry plate photography, thomas maher ebden, ebden general store

This photograph depicts flooding of Ozone Avenue in Beaumaris, located off Balcombe Road. Roads in the Beaumaris area lacked sufficient drains to clear surface water. In many cases streets were unsealed and without footpaths and some were dirt tracks. Gutters and road surfaces were made of clay and in the wetter months of winter, unsealed roads and tracks became impossible quagmires that were unnavigable for vehicles and pedestrians. In the first decade after World War II there was rapid expansion in construction of new houses in the suburb of Beaumaris. Utilities and infrastructure to support the growth of housing was inadequate and not provided for prior to the development of the area. Without rudimentary drainage, flooding was frequent. Storm water runoff, domestic sullage and septic tank overflow would form large pools and families were sometimes marooned within their homes. The frequent flooding caused isolation and hardship and residents endured difficulties with accessibility to facilities. These disadvantages had the potential to cause social issues for the new residents.Black and white photograph of flooding in Ozone Avenue, Beaumaris. The image shows floodwaters with boggy and rough terrain on an unsealed road with housing in the distance.Handwritten in blue ink: 2124 circled Handwritten in red ink: 80% Handwritten in blue ink on yellow Post-It note: Chap 6. underlined, 2194 Ozone Ave Beaumaris 1958beaumaris, ozone avenue, balcombe road, flooding, roads, infrastructure

This black and white photograph shows the front view of the Ovens Benevolent Home with one person sitting on a bench seat against the nearest part of the building and another person walking on the grass. This photo is estimated to have been taken in the early 1900’s when the Ovens Benevolent home would have still been fairly contemporary. According to Woods (p. 121) in the 1860’s the government spent considerable sums to establish several public buildings such as the Benevolent Asylum, the Hospital and Insane Asylum to support those in need of care in the area directly after the Indigo gold rush which had left Beechworth, a fairly remote regional and newly formed township (Gold was first discovered in Beechworth in 1852) with a number of infirm and destitute people in its wake and which due to the support and establishment of these facilities ‘made Beechworth a significant social welfare centre in Victoria’ (Woods, p. 121). Originally named the Benevolent Asylum, the building was renamed as The Ovens Benevolent Asylum in 1935 and again to The Ovens and Murray Home in 1954. The building construction began in 1862 and was unique in its features of Flemish Gothic Revival style which utilised red brick and granite, ‘the main facade is dominated by four curved, Flemish gable ends, […] incorporates paired windows of pointed Gothic form and dark brick diaperwork patterning. The adjacent J. A. Wallace Wing of 1899 was designed by Donald Fiddes as a separate building. Also constructed of red brick, Fiddes adopted a conservative approach, designing a simple domestic scale building with central projecting gable porch and flanking bull nosed verandahs.’ (https://vhd.heritagecouncil.vic.gov.au/places/118). Initially established to provide housing and care for aged, orphaned or widowed members of the population, over time the Ovens Benevolent Home focused more on the age care responsibility which functioned as such up until 2005.The Ovens Benevolent Home is significance due to its association with the early development of Beechworth. It shows the civic, social welfare development that took place in the town after the peak of the gold rush which helps to establish the character of the community being built at the time and their cultural values at play. This photograph also clearly shows the early functioning landscape of that building and its purpose as well as the significant elements of its aesthetic significance and unique and striking architectural forms of the building.Black and white rectangular photograph [copy from slide]Reverse: / 7588 /housing and care, aged care, donald fiddes, ovens benevolent home, flemish gable, brick diaperwork, photograph, black and white photograph, public building, benevolent asylum, indigo gold rush, beechworth, the ovens and murray home

From a box of photographs in Nancy U'REN's papers used during research for her thesis, The Early Growth and Development of Sandridge (1976) and/or her book with Noel TURNBULL, A History of Port Melbourne (1983). The print was probably made by her son, Andrew U'REN, and he may have also taken the photograph.Black and white photograph of the corner of The Boulevard and Beacon Road from the foreshore looking towards the city. The flats are on the left and the BP refinery site is on the right. There is a large white border at the bottom.A star in blue ink on the front. Type of photographic paper and exposure details on the reverse.built environment - domestic, the boulevard, beacon road, bp australia, nancy u'ren nee morris

Singer was first established as I. M. Singer & Co. in 1851 by Isaac Merritt Singer with New York lawyer Edward C. Clark. Best known for its sewing machines, it was renamed Singer Manufacturing Company in 1865, then the Singer Company in 1963. The Singer company began to market its machines internationally in 1855 and won first prize at the Paris world's fair that year. They had offices established in both Sydney and Melbourne by the mid-1960s. The company demonstrated the first workable electric sewing machine in 1910. Singer was also a marketing innovator and a pioneer in promoting the use of instalment payment plans, making their machines more affordable for many people. According to its serial number, this machine was manufactured in 1950 and was one of the new models designed to be more portable as it only weighed about 10 KG.This sewing machine is of local, national and international significance as it represents developments in technology and the impact this had upon the work of women.The Singer 99 was a sturdy and reliable machine that was easy to use. Lighter than other machines of its time, this machine weighed only 10 Kgs. It is mounted on a wooden base with a small compartment under the balance wheel to store accessories and bobbins. It has a 'Bentwood' (polished plywood) cover which also provided some room for storage. The machine is driven by a small electric motor and a light to illuminate the work area. It is decorated with gold decals and a filigree pattern. It includes a knee control which is inserted in a hole at the front of the machine. The serial number EG045782 indicates it was manufactured in 1950.Across the top in gold script: "The Singer Manufacturing Co. / Made in Great Britain" On light cover: "SINGER" Plate with specifications also attached. On front of machine in oval badge: A CENTURY OF SEWING SERVICE/ THE SINGER MANFG. CO. 1851 - 1951singer sewing macnine, domestic appliances, women's work, technology

Stuchbery Farm was situated on the Plenty River bounded by Smugglers Gully to the north and La trobe Road, Yarrambat, to the east. Alan and Ada Stutchbery moved to the valley in 1890, first living in a tent where four children were born. Alfred built a home and outbuildings around 1896. They planted an orchard, then a market garden and developed a dairy. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p179 The dramatic steep-sided Plenty Gorge lies along the divide of two geological areas, and separates the Nillumbik Shire and the City of Whittlesea. On the Nillumbik side are undulating hills and sedimentary rock, and in Whittlesea, lies a basalt plain formed by volcanic action up to two million years ago. This provides the Plenty Gorge Park with diverse vegetation and habitats, making it one of Greater Melbourne’s most important refuges for threatened and significant species. The park, established in 1986, consists of around 1350 hectares, and extends 11 kilometres along the Plenty River, from Greensborough to Mernda. It provides a wildlife corridor for around 500 native plant and 280 animal species.1 The area’s plentiful food and water attracted the Wurundjeri Aboriginal people and then European settlers. By 1837 squatters had claimed large runs of land for their sheep and cattle. The Plenty Valley was among the first in the Port Phillip District to be settled - mainly in the less heavily timbered west - and was proclaimed a settled district in 1841.2 But by the late 1880s, the settlers’ extensive land clearing for animal grazing, then agriculture, depleted the Wurundjeri’s traditional food sources, which helped to drive them away. Many Wurundjeri artefacts remain (now government protected), and so far 57 sites have been identified in the park, including scarred trees, burial areas and stone artefacts. Pioneer life could be very hard because of isolation, flooding, bushfires and bushrangers. Following the Black Thursday bushfires of 1851, basalt was quarried to build more fire-resistant homes. Gold discoveries in the early 1850s swelled the population, particularly around Smugglers Gully; but food production made more of an impact. In the late 1850s wheat production supplanted grazing. In the 1860s the government made small holdings available to poorer settlers. These had the greatest effect on the district, particularly in Doreen and Yarrambat, where orchards were established from the 1880s to 1914. Links with a prominent early family are the remains of Stuchbery Farm, by the river’s edge bounded by Smugglers Gully to the north and La Trobe Road, Yarrambat, to the east. The Stuchberys moved to the valley in 1890, and the family still lives in the area. In 1890, Alfred and Ada first lived in a tent where four children were born, then Alfred built the house and outbuildings around 1896. They planted an orchard, then a market garden, and developed a dairy. The family belonged to the local Methodist and tennis communities. Their grandson Walter, opened the Flying Scotsman Model Railway Museum in Yarrambat, which his widow, Vi, continues to run. Wal was also the Yarrambat CFA Captain for 22 years until 1987. Walter sold 24 hectares in 1976 for development - now Vista Court - and in 1990, the remaining 22.6 hectares for the park. Remaining are an early stone dairy and remnants of a stone barn, a pig sty and a well.3 Until it was destroyed by fire in 2003, a slab hut stood on the Happy Hollow Farm site, at the southern end of the park. The hut is thought to have been built in the Depression around 1893. This was a rare and late example of a slab hut with a domestic orchard close to Melbourne. Emmet Watmough and his family first occupied the hut, followed by a succession of families, until the Bell family bought it around 1948. There they led a subsistence lifestyle for 50 years, despite encroaching Melbourne suburbia.4 The Yellow Gum Recreation Area includes the Blue Lake, coloured turquoise at certain times of the year. Following the 1957 bushfires, this area was quarried by Reid Quarries Pty Ltd for Melbourne’s first skyscrapers, then by Boral Australia. However in the early 1970s water began seeping into the quarry forming the Blue Lake and the quarry was closed. The State Government bought the site in 1997 and opened it as a park in 1999.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, ada stuchbery, alan stuchbery, dairy, stuchbery farm, farm buildings, yarrambat, plenty gorge park

A quarry was transformed into the Blue Lake. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p179 The dramatic steep-sided Plenty Gorge lies along the divide of two geological areas, and separates the Nillumbik Shire and the City of Whittlesea. On the Nillumbik side are undulating hills and sedimentary rock, and in Whittlesea, lies a basalt plain formed by volcanic action up to two million years ago. This provides the Plenty Gorge Park with diverse vegetation and habitats, making it one of Greater Melbourne’s most important refuges for threatened and significant species. The park, established in 1986, consists of around 1350 hectares, and extends 11 kilometres along the Plenty River, from Greensborough to Mernda. It provides a wildlife corridor for around 500 native plant and 280 animal species.1 The area’s plentiful food and water attracted the Wurundjeri Aboriginal people and then European settlers. By 1837 squatters had claimed large runs of land for their sheep and cattle. The Plenty Valley was among the first in the Port Phillip District to be settled - mainly in the less heavily timbered west - and was proclaimed a settled district in 1841.2 But by the late 1880s, the settlers’ extensive land clearing for animal grazing, then agriculture, depleted the Wurundjeri’s traditional food sources, which helped to drive them away. Many Wurundjeri artefacts remain (now government protected), and so far 57 sites have been identified in the park, including scarred trees, burial areas and stone artefacts. Pioneer life could be very hard because of isolation, flooding, bushfires and bushrangers. Following the Black Thursday bushfires of 1851, basalt was quarried to build more fire-resistant homes. Gold discoveries in the early 1850s swelled the population, particularly around Smugglers Gully; but food production made more of an impact. In the late 1850s wheat production supplanted grazing. In the 1860s the government made small holdings available to poorer settlers. These had the greatest effect on the district, particularly in Doreen and Yarrambat, where orchards were established from the 1880s to 1914. Links with a prominent early family are the remains of Stuchbery Farm, by the river’s edge bounded by Smugglers Gully to the north and La Trobe Road, Yarrambat, to the east. The Stuchberys moved to the valley in 1890, and the family still lives in the area. In 1890, Alfred and Ada first lived in a tent where four children were born, then Alfred built the house and outbuildings around 1896. They planted an orchard, then a market garden, and developed a dairy. The family belonged to the local Methodist and tennis communities. Their grandson Walter, opened the Flying Scotsman Model Railway Museum in Yarrambat, which his widow, Vi, continues to run. Wal was also the Yarrambat CFA Captain for 22 years until 1987. Walter sold 24 hectares in 1976 for development - now Vista Court - and in 1990, the remaining 22.6 hectares for the park. Remaining are an early stone dairy and remnants of a stone barn, a pig sty and a well.3 Until it was destroyed by fire in 2003, a slab hut stood on the Happy Hollow Farm site, at the southern end of the park. The hut is thought to have been built in the Depression around 1893. This was a rare and late example of a slab hut with a domestic orchard close to Melbourne. Emmet Watmough and his family first occupied the hut, followed by a succession of families, until the Bell family bought it around 1948. There they led a subsistence lifestyle for 50 years, despite encroaching Melbourne suburbia.4 The Yellow Gum Recreation Area includes the Blue Lake, coloured turquoise at certain times of the year. Following the 1957 bushfires, this area was quarried by Reid Quarries Pty Ltd for Melbourne’s first skyscrapers, then by Boral Australia. However in the early 1970s water began seeping into the quarry forming the Blue Lake and the quarry was closed. The State Government bought the site in 1997 and opened it as a park in 1999.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, blue lake, plenty gorge park