This book is a novel written by Wendy Scarfe. Born in 1933 Wendy Scarfe was educated at Melbourne University and Melbourne Secondary Teachers’ College. She has taught in Australia, England and India where she worked for the Gandhian Movement. Her final teaching post was at Warrnambool High School (now Warrnambool College). She has published many novels, biographies, volumes of poetry and other works dealing with social issues. Several of her published works were co-authored with her husband Allan (dec. 2016) This book is of considerable interest as the author is a Warrnambool resident and a noted Australian writer. In ‘The Lotus Thorne’ she has drawn on her extensive knowledge of India and its customs and social and economic issues. This copy is a discarded library book. This is a soft cover book of 226 pages. The cover has a white background with a pink overlay containing an image of an Indian design on the front cover. The printing on the cover is in black lettering. Labels from Emmanuel College Library are on the front cover and on the spine and the Emmanuel College stamp is on a couple of pages. ‘Property of Emmanuel College Library, 37 Ardlie Street, Warrnambool, 3280’ wendy scarfe, warrnambool high school

This is the second edition of a book published originally in 1851. It is an early work concerned with the recording of aboriginal languages and was published in Geelong. The author, Daniel Bunce (1813-1872) was a botanist who went on journeys with aborigines in Victoria in 1839 and later in 1846 joined Ludwig Leichhardt’s second expedition in his attempt to cross Australia from east to west. This was unsuccessful. Bunce’s experiences in 1839 and in 1846 enabled him to write his book on aboriginal languages. In 1858 Bunce became the Director of the Geelong Botanic Gardens and designed and planted out the gardens. No information has been found on Noel Hallowill. This book is of antiquarian interest as an early dictionary of aboriginal languages and as a book written by the botanist, Daniel Bunce. This is a hard cover book of 60 pages. The cover is yellow with black lettering. There is an ornamental border around the printing. There are two blue stamps of the Warrnambool and District Historical Society on the front cover and on the first page. The book is bound with brown tape. The book has a Preface, an Introduction and sections on the aboriginal languages in areas of Victoria and beyond. A copy of a letter from the explorer, Ludwig Leichhardt, is included at the end of the book. Stamp of ‘Noel Hallowill’ (name unclear) daniel bunce, aboriginal languages, ludwig leichhardt

This cup was produced as a memento of the Coronation of Queen Elizabeth II in 1953. It was the official design of the British Pottery Manufacturers Federation. Queen Elizabeth II became Queen of England at the age of 25 following the death of her father in 1952. The Coronation was celebrated throughout the British Empire and a commemorative medal was issued. This cup is a high quality item and many such items would have been sold in Australia in 1953. This cup is retained as an example of the type of souvenir sold in Warrnambool and other parts of Australia in 1953. It is an attractive item and will be useful for display. This is a white china cup with a colour image of a crown and the initials ‘E11R’ on one side of the cup and a colour image of Queen Elizabeth in an oval shape surrounded by a crown, French lettering, British flags and foliage on the other side of the cup. The maker’s name and symbol are on the base of the cup. ‘Coronation June 2nd 1953’ ‘Honi Soit Qui Mal Y Pense’ ‘H.M. Queen Elizabeth 11’ ‘E 11 R’ ‘ Sol 391413 J. & G. Meakin England’ queen elizabeth 11 coronation, history of warrnambool

This souvenir cup of the Coronation of King George VI of England in 1937 was the official design of the British Pottery Manufacturers Federation. Good quality souvenirs such as this one sold well in Australia in the Coronation year and are collected still today. The Coronation was held in Westminster Abbey in London on 12th May 1937 following the abdication of King George’s brother, Edward VIII, in December 1936. The Coronation was celebrated with the issue of medals, coins, stamps, official and unofficial gatherings and the production of memorabilia. The Coronation was the first to be filmed and broadcast on radio and the first to feature an outside television broadcast. This souvenir cup is of interest as an example of the type of souvenir sold in Australia in 1937 to commemorate the Coronation of King George VI and Queen Elizabeth of England. It is an attractive item and will be useful for display. This is a souvenir cup issued for the coronation of King George VI and Queen Elizabeth in May 1937. It is made of white china with the body of the cup tapering slightly to the top rim. One side of the cup features a colour image of a crown, a wreath and the initials ‘G’ and ‘E’ and the other side has a colour image of King George and Queen Elizabeth, with a crown on top and encircled by leaves and acorns from an oak tree. The names of the king and queen are printed around the rim of the cup and there are other phrases in French around and under the images of the couple. ‘Coronation of King George VI and Queen Elizabeth May 1937’ ‘Honi Soit Qui Mal Y Pense’ ‘Dieu et Mon Droit’ coronation of king george vi and queen elizabeth of england, history of warrnambool

This typewriter case allowed the Olivetti typewriter to be securely and free from contaminants to be totally mobile. The Olivetti typewriter company was founded in Italy in 1908 and became a leader in portable dependable typewriters.This particular typewriter contained is a Olivetti Lettera 22, oblique front stroke and portable manufactured after 1950. During the 1950s and 1960s was a time when British and European manufactured goods were still purchased by many Australian consumers. After the 1970s however, there was a shift, mainly in the cities, to Japanese made goods. The invasion of Japanese manufactured goods was relatively slower, especially in rural areas. The demand for long lasting and dependable merchandise was in the rural area still the most important criteria. The ease of setting up this typewriter and its compact mobility was its major benefit to trades people and travelling professionals, e.g. rural doctors, other medical professionals, accountants, lawyers and educators. This item(carrying case) facilitated the growing numbers of professional nomads requiring a relatively light office stationery package e.g. travelling novelist, writer, businessman and academics. This typewriter needed no electrical or battery power to operate it therefore the inside compartment did not require additional storage pockets . Outback Australia, where at this point in time, good available electrical power reticulation and battery power, was a scarce and therefore could not be totally measured as a highly efficient office environment. The protective carrying bag provided the only mobile way to operate in some business and home locations.Although this typewriter cover and its typewriter was purchased from a business in Penrith, Sydney, N.S.W., it is significant that it travelled easily to the Kiewa Valley, demonstrating the mobility of certain sections of the community. This typewriter cover protected the expensive typewriter it contained which was designed by an Italian industrial designer, Marcello Nizzoli, in line with the art deco style of the 1930s and the colour and flexibility of the vibrant 1950s. The underlying theme of manufacturing in the 1950s was to produce equipment that was more efficient than what was inherited from the earlier period of 20th century. Improvements were made to this Olivetti typewriter by Giuseppe Beccio by reducing the number of parts made from 3,000 to 2,000. Protection of such a typewriter was of an utmost necessity. The need for mobile expensive typewriters waned as less expensive typewriters became available. This was the major principle of the Japanese manufacturing juggernauts of the post World War II. Efficiency and low cost material was becoming prime factors in the success of rural industries from the 1960s. Competition from overseas producers was starting to affect rural industries and the removal of the large range of tariff protection, especially rural products, required not only a shift of farm management but a more efficient cost savings modus operandi.This is a semi hard cover (cloth over cardboard on inside, plastic over cardboard on outside), camel coloured outside and tartan cloth covered pattern inside the typewriter case. the case can be opened up by "unzipping" the top from the bottom halves of the case. For carrying purposes the case has two plastic covering metal handles with brass fittings. There are two stitched on brown reinforcement straps encompassing both sides of the case. The two reinforcing straps are brown in colour and a securing strap with a press button at one end to allow an extra securing tongue to keep the cover secure. The top inside of the case has a three quarters long paper compartment (flap style). See KVHS 0455 for Olivetti Lettera typewriter.commercial, protective carry bags/cases for mobile office equipment, mechanical typewriter

This pack is made from materials available at the time and was used to carry supplies and equipment for bushwalking and/or cross country skiing. It is designed to protect the contents in all weather and to be as comfortable and practical as possible. The Bogong High Plains was a popular destination for bushwalking and cross country skiing. This backpack is an early example of the equipment used for extended walks and/or cross country skiing. Heavy green canvas back pack with flap at top to cover contents and to attach at base. Sides fold over at the top. The back is attached with zig zag cord with 5 holes down each side. The front piece has 2 pockets with straps to secure them. The sides have a wooden rectangular piece wrapped by canvas to maintain the shape of the pack. There are webbed shoulder straps on an angle attached to the back with adjustable straps. There is a thin metal rod on the outside of each side presumably to enable items to be hung from them. On the inside of the flap: Leon Henry/Trendweth(?)/ West Brunswick/Melbourne/ Victoria/ Australia Previous name and address has been crossed out.backpack; bogong high plains; bushwalking; cross country skiing

These medallions were awarded to school children to commemorate the 50th anniversary of the Commonwealth of Australia. This winning design depicts the seed caster with the seven ears of wheat representing the seven states and territories of Australia. The artist was John Wolfgang Elisher who was an Austrian sculptor.An item which was presented to all school children in 1951 to mark the occasion of 50 years of the Commonwealth.Bronze metal with image of seed broadcaster and dates in relief on front and inscription, seven ears of wheat and star burst on the reverse. Metal hook at the top. There are six of the identical medallions.1901-1951, Fifty years Commonwealth of Australia.warrnambool, commonwealth of australia, schoolchildren's medallion, 1951 children's medallion,

These books celebrate the 130th anniversary of the establishment of the Warrnambool Art Gallery. This Gallery is owned and operated by the Warrnambool City Council as a memorial to Sir David Fletcher Jones who was nationally known and a leading citizen in Warrnambool for many years as a businessman (Fletcher Jones and Staff) and as a philanthropist. The Warrnambool Art Gallery was founded in 1886 and is the third oldest institutional collection in Victoria and the fifth oldest in Australia. This book is of considerable interest as it reproduces many works of art from the Warrnambool Art Gallery, a highly significant collecting institute in Warrnambool. These are two copies of the book containing 130 reproductions of works of art (both in colour and in black and white) held at the Warrnambool Art Gallery. It is a soft cover book of 128 pages edited by Vanessa Gerrans. The cover designed by Ian Robertson has a white background and the shapes of the Warrnambool Art Gallery logo have been used as multi-coloured windows containing details of each of the 130 reproduced works. The title of the book is in black print. As well as the reproduced works of art the book contains A Message from the Mayor, notes on the Friends of the Warrnambool Art Gallery and the Warrnambool Art Gallery Foundation and an article on the history of the Art Gallery. warrnambool art gallery, warrnambool city council, david fletcher jones, history of warrnambool

This is a book of 16 pages. The cover is green and has black printing and an image of ship on the front cover. The back cover has some pencilled scribble. The pages contain printed text.non-fictionInformation on the Mahogany Shipmahogany ship, warrnambool maritime history, warrnambool mahogany ship

This is a book of 68 pages with a white cover with two black and white photographs set in a red background. The printing on the cover is yellow and white. The pages contain black and white photographs and printed text.non-fictionBiographical details of George Mackenzie, a pioneer aviator in Victoriageorge mackenzie pioneer aviator, belmont common aerodrome geelong, pratt aviation company geelong

This is the badge of the Australian Commonwealth Horse which was a mounted infantry unit of the Australian Army established during the Second Boer War in 1902. It was the first expeditionary force established by the Commonwealth of Australia following Federation in 1901 and the first to wear the Rising Sun Badge, a design chosen by the British Commander in Chief of the Australian Forces, Sir Edward Hutton. This Rising Sun Badge was the second version of a military badge used by Australian soldiers in 1902.This badge is of great interest as the hat badge worn by the Australian Commonwealth Horse in the Boer War. It is not known if it has any local significance. Brass semi-circular badge in the shape of the rising sun with slightly curved bottom edge. There is text along the bottom edge with "Australia" in a semi-circle above a crown in low relief.two hooks on the back of the badge."Commonwealth Horse" in scroll alonf bottom of badge. "Australia " in semicircle below the rays of the sun.warrnambool, commonwealth horse badge, military badges of australia, australian commonwealth horse badge

A steel helmet, popularly called a tin hat, is used as protective headwear by military personnel and civil workers in times of emergency and disasters. Steel helmets were first used in World War One, with the Allies troops using a design produced in London by John Brodie in 1915. This helmet was constructed in one piece pressed from a single thick sheet of steel and variants of this design have been used by military personnel ever since. It is not clear whether this particular item comes from World War One or World War Two. This steel helmet is retained as a good example of the protective headwear worn by Australian military personnel in World Wars One or Two.The crown of his helmet or tin hat is of an oval shape and it has a short flattened brim. There are three small holes for the insertion of a chin strap. The hat has some white paint marks and is very rusted.military headgear, history of warrnambool

This medal was awarded to children of Australia up to age of i4. The medal was designed by Charles Douglas Richardson, a sculptor. . One million, six hundred and seventy medals were produced and they were distributed in 1919 to mark the end of World War One. On the original medal the inscriptions included the words: "AUSTRALIA," "VICTORY", THE TRIUMPH OF LIBERTY AND JUSTICE " and " THE PEACE OF 1919"This medal is significant as a memento of the declaration of peace at the end of World War One. Circular white metal medallion .The obverse features a figure of peace with decorative surrounds and on the top two doves and text. The reverse has a crown with rising sun rays. Below is a laurel wreath, a sailor and a soldier and text. It has a small ring attached to the top,Obverse VICTORY, the rest is indecipherable on our item. Reverse AUSTRALIA, the rest is indecipherable on our item

This book is the autobiography of Margaret Lord, a noted Australian interior designer, journalist, colour consultant and author. Born in Warrnambool to Margaret and Henry Lord the author studied art in Melbourne and London and became an interior decorator. In the articles she wrote for the Australian Home Beautiful magazine she promoted Australian interior design and materials. Her 1924 book, ‘Interior Decoration – A Guide to Furnishing the Australian Home’, was the first Australian monograph on interior decorating. She was the first in Australia to establish the role of the interior designer consultant and in 1950 she was one of the founders of the Australian Society of Interior Designers. This book is of considerable importance as it is the autobiography of Margaret Lord, the noted Australian interior decorator and writer. She was born in Warrnambool and this is the only item we have that records her life achievement as a pioneer in Australia of interior design. This is a hard cover book of 215 pages. The hard cover is white with silver-coloured printing on the spine and the dust cover has a cream background with black and pink printing and the image of a pink rose. The pages contain an introduction, a preface, ten chapters of text and an appendix. margaret lord, interior designer, history of warrnambool, australian society of interior designers

These badges were produced for the Commonwealth Button Fund to raise funds for the victims of the Armenian massacre in the Ottoman Empire during World War One. The button was designed by Frances Woolcot the Honorary Organiser of the Melbourne Branch of the Commonwealth Button Fund. The buttons were sold late in February 1918 and raised 7,300 pounds for the victims.February These badges are of interest as an example of the Australian fund raising efforts during World War One for a specific group of people - in this case the victims of the Armenian massacres..1 Concave metal badge featuring sky, a minaret, two onion shaped domes, buildings, sand, three mounted camels and palm trees. There is a clip pin on the reverse. .2 As for .1 but discoloured and there is no slot into which the pin may be inserted. SERVIA SYRIA ARMENIA

These badges are hat or cap badges used by the Royal Australian Air Force . These badges may date from before World War Two but the ones used today are of similar design. The basic design mirrors the equivalent design of the badges of the Royal Air Force of Britain. The Royal Australian Air Force was established in 1921 and is the second oldest Air Force in the world, being formed from the Australian Flying Corps which was established in 1912.These cap badges are of interest as early examples of those worn by members of the Royal Australian Air Force..1Bronze badge featuring a crown, a wreath of leaves and berries enclosing stylised RAAF. There are two small rings on the reverse each with a two pronged brass pin inserted in the rings. .2 Identical to .1 except the brass pins are missing. RAAF

This medal was made by W.J.Amor Mint, a medal making company from New South Wales. It was made to commemorate both the 50th anniversary of the establishment of Canberra in 1963 and the Royal Visit of 1963. Because of the rivalry between the two major Australian cities, Melbourne and Sydney, it was decided to establish a new capital city somewhere between the two cities. The Australian capital Territory was established in 1913 and the American architect, Walter Burley Griffin, in association with his wife, Marion Mahony Griffin, was chosen to design the new city of Canberra. The first Parliament House was opened in 1927 and Melbourne ceased to be the location of the Federal Parliament meetings.This medal is of interest, mainly because it commemorates the 50th anniversary of the first Parliament House in Canberra and the establishment of Canberra as Australia's capital city.Circular brass medal with ring attached at the top and a split ring through the ring. The obverse features a raised profile of Queen Elizabeth 11 wearing a crown and text. The reverse depicts old Parliament House, decorative leaves and text.THE ROYAL VISIT OF HM. QUEEN ELIZABETH 11. 1963. JUBILEE OF CANBERRA 1913-1963 AUSTRALIA 1788-1963 australian capital territory, canberra australia, walter burley griffin, queen elizabeth 11

As written in the note inserted in the front of the bible ,"This Welsh Bible was brought to Australia by John Morgan and his wife Sarah in 1865. With baby daughter Mary, they settled at Allansford, where John took up land"Acme" farm. Their other children Margaret, Jane, Evan, Lewis and Elizabeth were born there." The Memorial card provides the additional information that Sarah Morgan died July 30th 1906 at the age of 68. The date of the Bible 1864 fits with their arrival in Australia in 1865. The Morgan family have been connected to Allansford from that time. This bible has significance social and historical significance as the Bible was common in many family homes. This one written in Welsh shows the connection between the origins of the Morgan family and their new country. It is well provenanced and is well connected to the district.Dark brown leather cover over card.The pages are edged in gold and the front and and back covers have a rectangular scrolled design . The pages are not numbered.There is an envelope inside the front cover with a George Hose docket for threshing wheat, barley and oats and an In Memoriam card for Sarah Morgan who dies July 30th 1906. There is also a handwritten note with the owners details and a navy ribbon which may have been attached at one time.There are no inscriptions on the bible itself but the handwritten card reads, " This Welsh Bible was brought to Australia by John Morgan and his wife Sarah in 1865. With baby daughter Mary, they settled at Allansford, where John took up land"Acme" farm. Their other children Margaret, Jane, Evan, Lewis and Elizabeth were born there. There is also an envelope dated 2004 and addressed to Mr Bill Morgan 6 Vera St Iluka NSW 2466. Watkins Binder label inside the back cover.allansford, welsh bible, morgan family, sarah and john morgan

These items are among several tools that are believed to have belonged to the Warrnambool carpenter and businessman, Henry Phillips. English-born Henry Phillips (1821-1896) came to Australia with his wife Elizabeth in 1849. They lived for some time in Port Fairy. In 1865 Henry formed a partnership with Christopher Beattie and established the Warrnambool undertaking business of Beattie and Phillips. This business continued on after the deaths of the founders and lasted until the year 2000. In Warrnambool Henry Phillips was involved in the management of the Mechanics Institute. These nine tools are small wooden planes, similar in size and design. In each tool the main wooden section is rectangular in shape with an additional wooden piece attached to one side. In each a metal blade has been inserted at an angle into a slot on top of the main wooden piece and a small wooden piece rests on the blade. The blade protrudes at the base of the main wooden piece to form a planing mechanism.vintage tools, henry phillips, warrnambool

These coins are examples of Australian decimal currency coins in 1970 and 1971. Decimal currency was introduced into Australia in 1966 with 50 cents, 20 cents, 10 cents, five cents, two cents and one cent coins issued at that time. The images of Australian animals and birds on one side of the coins were designed by Stuart Devlin. The one and two cent coins were discontinued in the 1980s and $1 and $2 coins were introduced in 1991.These coins are retained as examples of Australian decimal currency coins in the 1970s. They will be useful for display. .1 A Australian decimal currency twelve-sided coin, 50 cents – Australian Coat of Arms on one side and the image of Queen Elizabeth11 on the other. ‘2 An Australian decimal currency coin, 20 cents – image of a platypus on one side and the image of Queen Elizabeth11 on the other .3 An Australian decimal currency coin, 10 cents – image of a lyrebird on one side and the image of Queen Elizabeth 11 on the other .4 An Australian decimal currency coin, 5 cents – image of a spiny anteater (echidna) on one side and the image of Queen Elizabeth 11 on the other .5 An Australian decimal currency coin, 2 cents – image of a frill-necked lizard on one side and the image of Queen Elizabeth 11 on the other. .6 An Australian decimal currency coin, one cent – the image of a feathertail glider on one side and the image of Queen Elizabeth 11 on the other. .1 50 Elizabeth11 Australia 1971 .2 20 Queen Elizabeth 11 Australia 1970 .3 10 Queen Elizabeth 11 Australia 1970 .4 5 Queen Elizabeth 11 Australia 1970 .5 2 Queen Elizabeth 11 Australia 1970 .6 1 Queen Elizabeth 11 Australia 1971 australian decimal currency coins, history of warrnambool, australian decimal currency, stuart devlin

This historic site of Australia’s first open-air gallery is being redeveloped in 2023 for multi-housing fronting the Research Creek. In 1955, Ian and Joan Hassall moved to Eltham. They took a property on the corner of Zig Zag Road and Main Road, Eltham, north of the township (later known as 1215 Main Road). In July 1962, they opened their open-air gallery. Hassall’s Roadside Galley, “…cradled in the fold of hills to the north of Eltham” inspired by Ian’s own experience of exhibitions along the Embankment in London. The property included remnants of a stone quarry, paintings were hung on screens and removed at night. Various pedestals, that looked like giant mushrooms displayed sculpture, pottery, and jewellery. It had a small natural amphitheatre at the foot of a little sandstone cliff that fall away to the bed of a stream. To enter the gallery, a visitor crossed a small freestone bridge of oriental design, built by Hassall from local stone. The bridge spanned the stream flowing beneath great willow trees. Near the entrance wooden figures were displayed formed from pieces of local wood, said to speak to Ian Hassall’s sense of fun. Hassall’s Gallery was the first gallery of its kind in Australia. Ian became a full-time artist and when it first opened, he exhibited paintings he had made while touring the outback with writer and fellow Eltham resident Alan Marshall. He also exhibited other Australian artists over time including locals Lindsay Edward and Peter Glass.daryl morrow collection, eltham heights luxury living, hassalls roadside gallery, housing development, real estate development, research creek, 2023-07-10

This historic site of Australia’s first open-air gallery is being redeveloped in 2023 for multi-housing fronting the Research Creek. In 1955, Ian and Joan Hassall moved to Eltham. They took a property on the corner of Zig Zag Road and Main Road, Eltham, north of the township (later known as 1215 Main Road). In July 1962, they opened their open-air gallery. Hassall’s Roadside Galley, “…cradled in the fold of hills to the north of Eltham” inspired by Ian’s own experience of exhibitions along the Embankment in London. The property included remnants of a stone quarry, paintings were hung on screens and removed at night. Various pedestals, that looked like giant mushrooms displayed sculpture, pottery, and jewellery. It had a small natural amphitheatre at the foot of a little sandstone cliff that fall away to the bed of a stream. To enter the gallery, a visitor crossed a small freestone bridge of oriental design, built by Hassall from local stone. The bridge spanned the stream flowing beneath great willow trees. Near the entrance wooden figures were displayed formed from pieces of local wood, said to speak to Ian Hassall’s sense of fun. Hassall’s Gallery was the first gallery of its kind in Australia. Ian became a full-time artist and when it first opened, he exhibited paintings he had made while touring the outback with writer and fellow Eltham resident Alan Marshall. He also exhibited other Australian artists over time including locals Lindsay Edward and Peter Glass.daryl morrow collection, eltham heights luxury living, hassalls roadside gallery, housing development, real estate development, research creek, 2023-07-13

Lists all towns and villages with entries in the Victorian censuses between 1841 and 1901. It includes in excess of 1400 entries with the latitude and longitude for each town, numbers males and females in the town, and the number of occupied dwellings (where available). For many of these settlements the only visible trace of them today is in the census results collected by the fledgling governments of Colonial Victoria. It is a comprehensive reference and a fascinating insight into the movements of early populations of new Australians.cities and towns victoria, history 19th century, statistics, ghost towns - victoria, geographical names victoria, victoria census

Gordon Ford was a conservationist and a pioneer of natural-style landscaping. He came to Eltham in 1948 and bought a block of land in John Street extending through to Pitt Street. Artist Peter Glass lived opposite in John Street. Early on, Gordon worked for Alistair Knox on construction of the mudbrick Busst house amongst others. At the same time, with the help of friends including artist Clifton Pugh, he progressively built his own house ‘Fülling’, which "grew like Topsy" utilising a variety of second-hand materials. His main focus, which became his life-long occupation, was garden landscaping. Inspired by Edna Walling and Ellis Stones, he sought to reflect the bush settings of rural Victoria where he had grown up. Commissions included Monash University and countless industrial sites but designing for the archetypal quarter-acre block gave him the most satisfaction. He had a huge impact on the look of gardens in Australia from the 1950s, creating seemingly natural bush environments by carefully integrating indigenous and exotic plantings. Gordon died in 1999 and is buried in Eltham Cemetery; the gravesite in a natural landscape setting is marked by a plaque. Another plaque (away from his grave) notes his landscaping design work within the cemetery grounds and at Alistair Knox Park. Gordon Craig Ford 30-8-1918 - 16-6-1999 Landscape designer Loved and respected Husband of Gwen, father Of Angela, Emma, Ben, Cassie, Dailan, Caitlin. A good life lived well Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p55This 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, graves, eltham cemetery, gordon craig ford, gravestones, gwen ford, memorials

St Margaret’s Church of England was officially opened on December 12, 1861. It is the oldest intact church building in Eltham. At the time it was known as Christ Church until its consecration in 1871, when it was completely free of debt (£1,700 for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including locally made bricks donated by local artisans and others. The church is historically significant because it is the oldest church in the former Shire of Eltham and has associations with the philanthropist and founder of Brighton, Henry Dendy (who donated the land on which the church is built), the architect Nathaniel Billing and the prominent local builder, George Stebbing. The church is architecturally and aesthetically significant because it is constructed in the Gothic Revival style with several stained-glass windows of various dates and is also a very early use of polychromatic brickwork in Victoria. Billing was one of the first Melbourne architects to employ polychromatic brickwork and an important early architect. The rear wall was intended to be temporary. A major feature of the design is the large buttresses with long, steeply graded upper faces. The overall design is well proportioned with the surface brick patterns relieving an otherwise austere design. The church is spiritually and socially significant because it has been an important place of worship for the people of Eltham for almost 150 years. The land on which the buildings stand was donated by Henry Dendy. Dendy arrived in Melbourne in 1841 after purchasing in England eight square miles at Brighton under the system of "special surveys". After this land passed out of his hands, Dendy moved about Victoria, visited England, then returned to settle in Eltham where he purchased a flour mill. Dendy chaired the meeting held in 1860 “for the purpose of devising such means as may be expedient for the establishment of a Church of England in the township of Eltham”. He became chairman and treasurer of the church committee. Unlike the establishment of many early churches in Victoria where a vicar was appointed to a parish and later a permanent church was constructed, the population at Eltham initiated action to build a church. The nearest church at that time was at Heidelberg and the Eltham settlement was part of the parish of St Johns Heidelberg. Isolation and the tedious, time consuming journey between Heidelberg and Eltham resulted in the Eltham community taking its own action. The original vicarage (Dendy House) at the rear of the church is also an important part of the cultural significance of this place because it is connected to the church and the development of the Eltham area. Together, the church and the vicarage are aesthetically significant because they form a significant streetscape feature. The mud-brick community hall designed by Robert Marshall was added in 1978. In 2014 the original temporary rear wall was removed as part of a modern extension designed by Architects Atelier Wagner and constructed by Conrad Construction and Management. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Trust of Australia (Victoria) State significance Victorian Heritage Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p67This 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, st margaret's anglican church, st margaret's church, christ church

The building was designed by Charles Maplestone of Heidelberg, son-in-law to Anthony Beale of St Helena. Maplestone was a prominent architect who came out to Australia with his family in 1852. The foundation stone was laid by Mrs Isabella Maplestone on 11th November 1867. The bricklayers for the church were George Stebbing, H Limmer, H Spicer and a Mr Timm while Thomas Day was the stonemason. Another three years were to pass before sufficient money could be raised for its completion. It was opened by Bishop Perry on 1st November, 1870. The church bell which hung under a tree for 50 years until it was incorporated in the parish hall was brought out from England and presented by Charles Orme. In 1916, the estate of George Martin Pizzey left sufficient money to build the red brick hall, which still stands today (2023) though in January 1969 the hall and bell tower were badly damaged by bushfire. Coincidentally the former home of benefactor, George Pizzey was destroyed in the same fire. Of particular significance are the interior and exterior of the church, the Sunday school and hall with emphasis on pre-World War I fabric (excluding the 1990s additions) and the three coloured glass windows currently suspended in the 1990s entry foyer. In 2011 further alterations were made to the front of the Church. The church is historically significant because it was the oldest public building in the former Diamond Valley Shire, is amongst the oldest buildings in the Shire of Nillumbik and is associated with the early settlement of the Diamond Creek district. The church is historically, socially and spiritually significant because it has been a place of worship for over 150 years and continues to be, an important meeting place in the Shire. The church is aesthetically significant for the three stained glass windows executed by the noted stained glass manufacturers, Ferguson & Urie, as well as the supporting coloured glass windows in the church. The Sunday school & parish hall is architecturally significant because the hall is a well executed and preserved example of the work of noted church architects, North & Williams. It is historically significant because it is connected with local parishioner and Melbourne industrialist, George Pizzey, who bequeathed funds for its construction. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Estate Ntionl Trust of Australia (Victoria) Local significance Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p85 References: St Johns Anglican Church complex, Sunday School and Parish Hall 61 Main Street DIAMOND CREEK, NILLUMBIK SHIRE. (2023, June 7). Retrieved from https://vhd.heritagecouncil.vic.gov.au/places/64023 Diamond Creek, VIC. – St John’s Anglican (2023, June 7). Retrieved from https://www.churchhistories.net.au/church-catalog/diamond-creek-vic-st-johns-anglican 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, st john's anglican church, diamond creek, parish hall

Gordon Ford was a conservationist and a pioneer of natural-style landscaping. He came to Eltham in 1948 and bought a block of land in John Street extending through to Pitt Street. Artist Peter Glass lived opposite in John Street. Early on, Gordon worked for Alistair Knox on construction of the mudbrick Busst house amongst others. At the same time, with the help of friends including artist Clifton Pugh, he progressively built his own house ‘Fülling’, which "grew like Topsy" utilising a variety of second-hand materials. His main focus, which became his life-long occupation, was garden landscaping. Inspired by Edna Walling and Ellis Stones, he sought to reflect the bush settings of rural Victoria where he had grown up. Commissions included Monash University and countless industrial sites but designing for the archetypal quarter-acre block gave him the most satisfaction. He had a huge impact on the look of gardens in Australia from the 1950s, creating seemingly natural bush environments by carefully integrating indigenous and exotic plantings. Gordon died in 1999 and is buried in Eltham Cemetery; the gravesite is marked by a plaque. Another plaque (away from his grave) notes his landscaping design work within the cemetery grounds and at Alistair Knox Park. Gordon Craig Ford Landscape Designer 30. 8 .1918 - 16. 6. 1999 Eltham Cemetery Trustee fom 1987 - 1999 Gordon settled in Eltham in 1948 He was a conservationist and a pioneer of natural style landscaping, continuing design and construction until his death. His local work and influence can be seen in many private gardens, the Eltham Cemetery and the Alistair Knox Park.Born Digitaleltham cemetery, gravestones, gordon craig ford

In 1938, Arthur William Glass (known as Peter Glass) was studying painting under Max Meldrum. Much of their inspiration came from the Eltham bush and the nearby Yarra River. With his friends jazz musicians Graeme and Roger Bell, Peter bought land at the top of John Street: enchanted by Montsalvat, he had the objective of building a mud-brick house. War intervened, but then in 1948 he began working for Alistair Knox as a carpenter and mud-brick builder. By then, Peter had married, necessitating a larger house, which he built with help from Alistair Knox. As a trained architectural draftsman, Peter later progressed to working for Alistair in that role, eventually running the drafting office during the 1960s. He was deeply involved in the foundation of the Australian Institute of Landscape Architects, and went on to design many gardens, some in partnership with Alistair Knox and Gordon Ford. He died in 1997 and is buried in Eltham Cemetery with his wife Cecile. Peter Glass (Arthur William) Artist A.I.L.A. 28.8.1917 - 28.12.1997 and his loving wife Cecile Madeleine 23.2.1927 - 6.2.2006 Rest In PeaceBorn Digitaleltham cemetery, gravestones, heritage excursion, cecile madeleine glass, peter glass