Ordained 1964 at Rosebery Zeehan 1964-1967, New Town 1968-1972, then Broadmeadows 1973-1979; Ringwood 1980-12/1987, Ballarat Central 01/88 to 04/1994, Bendigo West 05/94 to 12/98. Retired 01/1999.B & W photograph of Rev. G. Kerrie Graham kneeling behind two unidentified small children. The children wear hats; Graham a "UCAN for Young People sweatshirt.rev. g. kerrie graham; rosebery; zeehan; broadmeadows mission; ringwood; ballarat central; bendigo west; methodist minister; uniting church minister

Includes notes on pronunciation, South Kimberley orthography, and an inventary of orthographies. Has small black and white illustrations.Maps, b&w illustrations, tableskimberley, bardi, bunuba, gajirrawoong, gamberre, gooniyandi, gwini/kwini, jaru, juwaliny, karajarri, kija, kukatja, malngin, mangala, miriwoong, ngardi, ngarinyin, nyangumarta, nyikina, nyuinyul, walmajarri, wangkajunga, wanyjirra, warrwa, worla, worrorra, wunambal, yawuru, yulparlja

Somerville Homes operated from 1965 to 1981. Somerville Homes came into existence in 1965. The homes were named in honour of Margaret Somerville MBE who helped evacuate 95 children from Croker Island to Sydney in 1942 and who returned to Croker Island with the children after the war and continued as a house mother and care giver until 1965. A book entitled "They Crossed A Continent", the story of Margaret Somerville's epic journey was produced. Somerville Homes was established in 1964 when the Methodist Overseas Mission began to discuss the closure of the Croker Island Mission and the transfer of all children to smaller group homes in the Darwin area. It had links with both the Methodist Overseas Mission and the United Church in the Northern Territory. Somerville Homes ran the Somerville Cottage Homes in Darwin from 1968 through to the 1980s. In 1981 Somerville Homes changed its name to Somerville Community Services. Somerville Homes was established as an organisation in 1964 when the Methodist Overseas Mission began to discuss the closure of the Croker Island Mission and the transfer of all children to smaller group homes in the Darwin area. A Somerville Homes Council was created with the aims: (a) to carry out charitable purposes of providing total care for children and young people in the Northern Territory of Australia and elsewhere; (b) to establish and maintain homes for children and young people, provide family counselling, arrange or assist in the arranging of adoptive or foster homes, provide after care and generally provide all such services in its own capacity or in co-operation with others, constituting the total care of the child or young person. The organisation had links with both the Methodist Overseas Mission and the United Church in the Northern Territory. It became an incorporated body with a Board in 1971. After 1977 it retained links with the Uniting Church, Northern Synod. Somerville Homes ran the Somerville Cottage Homes in Darwin from 1968 through to the 1980s. In 1980-81when the organisation expanded its services, it changed its name to Somerville Community Services. Albert Kuipers is not mentioned by name in the online information available.Kuipers is pictured in shirtsleeves taking notes."Albert Kuipers - Somerville Ch Homes Darwin"kuipers, albert, somerville homes, croker island mission, methodist overseas mission

James Bulloch Galloway - b. 1872 Govan, Scotland; 1889 ordained Townsville Qld; 1900 Charters Towers Qld; 1907 South Melbourne Dorcas Street (colleague with John Meiklejohn); 1913 Brisbane South (Park Church). John Meiklejohn MA BD b. 1841 Glasgow; University of Glasgow; Theological Hall of U.P. Church; 1872 ordained Glasgow City Mission; 1874 Kirkmairhill, UP. Lanarkshire; 1868 South Melbourne Dorcas Street Vic; 1901 First Moderator General Assembly of Australia; First Principal Emmanuel College, Brisbane; 1915 died 28 September.Galloway and Meiklejohn are seated adjacent to each other, facing the camera, dressed in clerical clothing. Meiklejohn is holding a sheaf of papers, and there is a small table at the rear between them."Rev. James Galloway and Rev. John Meiklejohn"meiklejohn, john, galloway, james

Rev. Francis Robert Muter Wilson was born in 1832 near Hamilton, Lanarkshire, Scotland. He entered Edinburgh University in 1848 and started theological studies in 1852 at New College Edinburgh. He completed theological studies in 1856 and arrived in Melbourne in September 1857. He briefly preached to a small congregation at Brighton, and then early in 1858 he supplied the pulpit of Dr. McKay in Sydney. Later in 1858 he received a call to Camperdown and was ordained there in December 1858. Married Lillie Tait in Geelong in April 1861. Moderator of the Presbyterian Church of Victoria in 1875. Called to Kew in 1877 and served there until he was demitted in 1898. Convenor of the Business Committee of Assembly. Died June 9 1903.B & W head and shoulders studio portrait of Rev Francis Robert M. Wilson, printed on buff card.Rev. F.R.M. Wilson 1876 - 1897francis robert muter wilson, presbyterian, minister, edinburgh, kew, moderator

Born on the West Coast of Tasmania. Became a teacher inTasmania in the early 1930. He married Emily Ferguson, a presbyterian girl, but felt a calling to the Methodist Church. John went to Underbool in Vic in 1939. Joined the RAAF in 1942 and trained as a Navigator for Bomber Command. Was recalled in 1943 and began his ministry in the Woomelang Circuit, then at Mitiamo 1947-1950; Port Fairy 1950-52; Nathalia 1952-54. He left the ministry and bought a small farm near Bendigo. After 18 mths he started preaching at Mckenzie Street Methodist church with the title Pastor. In 1958 he was recalled to the ministry and served at Morwell. He was also chaplain to Morwell River Prison, Newport West, Coburg, Milan Italy and Finally at Moonee Ponds where he retired in 1978. After retirement he did supply work in places such as Sea Lake, Heathcote, Warragul and Quirindi NSW. John died on 25 July 2000. B & W photograph of Rev. John Adamthwaite standing in front of an open briefcase.john adamthwaite, methodist, minister

B & W mezzotint engraving of the Rev. John Wesley, surmounting small etching of Epworth Church. Timber frame.The Revd. John Wesley, A.M. Fellow of Lincoln College Oxford. Born at Epworth in Lincolnshire June 28th 1703 Died in London March 2nd 1791 Epworth Church Drawn by J. Jackson, R.A. July 18th 1825 Published Aug. 1st 1825 by the Rev. Thos. Roberts Bristol.

Bought in New York by B. Atkinson when she was Australasian Secretary under Dorothy Pederick's Presidency.Small green and red World Federation of Methodist Women enameled badge."W.F.M.W."world federation of methodist women, atkinson, b.

St. Andrew's Uniting Church, formerly the Presbyterian church includes two different church buildings as well as a new addition built at the rear of the 1904 red brick building. A small weather board structure was used as a church until the Romanesque brick building opened in 1904. The new church extensions were completed on 14 December, 1986.A rear view of St. Andrew's Uniting Church before the extensions were built. The photograph shows the small apse and porch as well as the surrounding conifers which were growing in the church grounds.churches, religion, tompkins, f. b., h. w., goyen, w. rev., st. andrew's uniting church, presbyterian church, george evans collection

St. Andrew's Uniting Church, formerly the Presbyterian church includes two different church buildings as well as a new addition built at the rear of the 1904 red brick building. A small weather board structure was used as a church until the Romanesque brick building opened in 1904. The new church extensions were completed on 14 December, 1986.A view of the front of St. Andrew's Uniting Church and stone fence with the surrounding trees and cars parked in the front of the church.churches, religion, tompkins, f. b., h. w., goyen, w. rev., st. andrew's uniting church, presbyterian church, george evans collection

St. Andrew's Uniting Church, formerly the Presbyterian church includes two different church buildings as well as a new addition built at the rear of the 1904 red brick building. A small weather board structure was used as a church until the Romanesque brick building opened in 1904. The new church extensions were completed on 14 December, 1986.A coloured photograph of St. Andrew's Uniting Church after the rear extensions. The new porch and hall and part of the new church extensions are visible on the LHS of the photograph.churches, religion, tompkins, f. b., h. w., goyen, w. rev., st. andrew's uniting church, presbyterian church, george evans collection

On 4th August 1978 the construction of the Goonawarra Estate commenced. The estate was formerly known as the Goonawarra Farm and overlooked the Sunbury Township and the Jacksons Creek Valley. Plans for the development included a golf course, houses and community and recreational facilities. The golf course opened in 1980 and the housing construction continued throughout the last two decades of the twentieth century and into the twenty first century.A coloured photograph of the clubhouse at Goonawarra Golf Course as seen from the 10th green. A small white van is parked ouitside the building. There is a line of trees behind the clubhouse.goonawarra golf club, goonawarra farm, goonawarra housing estate, housing developments, sharkey, robert b., kilkenny homes, australian ideas homes pty.ltd., glamor homes, craftsmen homes., villa bella homes, george evans collection

Many displaced people who migrated to Australia after World War 2 brought similar tubs with them as part of their luggage. The tubs were valued by the migrants because they were used for washing clothes and other laundry items, and for bathing children and even adults. The tub in our possession was brought out to Australia in 1950 by the Pierzak family who eventually settled in North Sunshine, Victoria. The following story about the Pierzak family has been provided by the daughter Halina Wlodarczyk (nee Pierzak). The father Stanislaw Pierzak was born on the 26th of July 1916 in Zbrza, and the mother Teodozja (Teodozia) Szalas on the 5th of March 1919 in Goleciny, both villages in the Kielce district of Poland. In 1940 they were both taken by the German Army to work as slave labour on farms in Germany. Stanislaw worked in the Saxonia area and Teodozja near Dillingen. The work was hard, and when Teodozja contracted pneumonia she was told that she would not be given any food if she did not work. After the war the displaced persons, as they were called, were settled in various barracks and camps organised by the United States Army. Stanislaw and Teodozja married in Gablingen, Bavaria, Germany, and Halina was born in the camp at Gablingen in 1949. The displaced people were given the choice of several countries if they wanted to migrate from war torn Germany, and so the Pierzak family chose Australia. The Pierzak family set sail from Naples, Italy aboard the ship General M. B. Stewart and arrived in Sydney on the 17th of April 1950. The men and women had to stay in separate quarters, and many passengers were so sick that they did not think they would survive the journey. In Australia they lived in migrant camps in NSW at Bathurst, Orange, Parkes and Cowra. To pay off their fares to Australia migrants were required to work under contract for 2 years. Stanislaw Pierzak worked in Broken Hill NSW returning to visit his family every 3 to 4 months. The son John was born in the Red Cross building at the Parkes camp in 1952. In 1953 the whole family moved to Melbourne and lived in a converted garage in Victor Street, North Sunshine. In 1954 the family bought a bungalow on a block of land in Compton Parade, North Sunshine, where eventually they built a house. Stanislaw Pierzak worked at Steelweld in Ashley Street, Braybrook travelling there on his bicycle, while Teodozja Pierzak found work at Smorgon in West Footscray. Stanislaw and Teodozja Pierzak lived in North Sunshine for the rest of their lives, and Mrs Pierzak always said that Sunshine was the best place in the world.Tubs like this which belonged to displaced people were highly valued possessions and are of historic significance. They were brought out to Australia after World War 2 by many migrating displaced families. The tubs were used for washing activities in the camps in Germany, and the migrant camps in Australia, and also when people lived in bungalows in Australia before they built houses with laundries and bathrooms.Oval shaped galvanised iron tub with two rigid handles, one at each end. The top of the tub is larger than the base. The galvanising is deteriorating in some parts which show a whitish appearance. There are some small dents, and a few chips in the galvanising where surface rust has appeared.The number 70 is stamped on both sides.washing tub, galvanised tub, laundry, bath, displaced persons, immigration, general m. b. stewart, galvanized tub, pierzak, galvanised wash tub

Alice Blanch Chehovski was born in Queensland to a Russian mother and Polish father. When her father died leaving three small children to bring up on her own, her took them back to Russia to visit her own parents. In the following fateful year, Stalin came into power and the family was trapped by Russia closing its borders. At the age of twenty three, 1944, Alice entered Moscow's Institute of Decorative Arts and Applied Arts to study ceramics. Neither the subject of ceramics nor the academic drawing in fine pencil inspired her. At that time Moscow was surrounded by German troops, Russian culture was inhibited by the war and generally speaking it was not the time for arts. Alice said 'My soul and my hands were needed as a volunteer, to help the wounded soldiers survive'. Alice struggled through a lifetime of hardship and triumph before returning to her native land of Australia in 1981 at the age of 60. This lithographic print is one of a set of ten produced at Dunmoochin at the time of Clifton Pugh.Lithographic print in black and white (very dark image) depicting Chehovskis' cottage at Dunmoochin. Small cottage, bushland and shrubs.Bottom left of print: ed. no. '4/10' and work title. Bottom right of print: artist signature 'Alice Blanch '04'chehovski, dunmoochin, pugh, cottage, lithograph

Nicholas Nedelkopoulos is an established artist, his work is represented in the Metropolitan Museum of Art, New York, the National Gallery of Australia and in numerous International and Australian Public and Private Collections. His work has been included in major historic exhibitions: the National Gallery of Australia's Federation touring exhibition, The Australian Bicentennial Folio and Victoria's 150th Anniversary exhibition curated at The State Library of Victoria and National Gallery of Victoria. He has a Diploma of Fine Arts from Victorian College of the Arts, a Master of Fine Art from the University of Melbourne (Victorian College of the Arts) and has a Doctorate from Monash University. Nedelkopoulos' work is based strongly in graphic tradition which can be seen throughout all of his media.'The Sneeze' alludes to a feverish response, an irritation, a period of temporary discomfort, or a sign of sickness. On a visit to Eltham in 1995 Nedelkopoulos became aware of the disquiet felt by many residents because local government was not in the hands of elected representatives. 'The Sneeze' is an allegorical work, which serves as a reminder of this period in our municipal history. Nedelkopoulos has constructed an environment similar to a theatre set in which every element is a symbol to be deciphered. Whether you read the red-nosed figure as democracy being challenged by the political circumstance, as representing the unelected commissioners surrounded by the criticism of the community, or as another player in the story, to unravel the meaning of individual elements will provide direction and add weight to your interpretation. Without knowledge of the artist's intention the work can convey quite straightforward messages and responses. For example, the misery of hayfever in Spring, or how germs spread from a single sneeze. Such ideas are relevant and provide the metaphoric basis for a more in-depth analysis.Pastel drawing on paper. Image depicts a small black figure with a small monkey on a lead. The figure has a red nose to which he is holding a tissue. He is walking through what appears to be a flowering forest.nedelkopoulos, the sneeze

The site specific sculpture is located at the entry to the office of Nillumbik Shire Council. It was commissioned in 1994 by the Shire of Diamond Valley for their 20 year celebration. Baines was chosen from a short list of three artists. He is an internationally renowned artist, particularly in the field of gold and silver smithing. 'Transaction' takes on the visual and aesthetic vocabulary of its surroundings. It is a statement of the geometry and idiosyncrasy of its immediate site. The series of arcs are reinterpreted into longitudinal curves in the sculpture. It is a transaction between the place and the anticipated entry to the building. The title also suggests the flow of civil and administrative procedures that take place daily within the Shire's offices. A large cascading form in stainless steel. Multiple rows of concave dishes set on long steel stems, which progressively increase in size as they rise in height. The work plays elaborately with perspective, and its repeated shapes are arranged in a orderly mathematical series. It faces a wheelchair ramp lined with polished steel rails, and is integrated with the architectural features of its forecourt setting, for which it was designed. The piece is sited in a small garden area and can be viewed from within the building's foyer. In bright sunlight, its dish-shapes cast elliptical shadows across walkways and lawns. N/Apublic art, transaction, ekphrasis2017, stainless steel, disks, poles, council

In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square. This is the second of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik. Square floor mosaic. Black and white chequered border. Multicoloured coiled snake intercepted with six multicoloured peaks. Made up of small mosaic tiles and hand painted. Hand painted artist signature bottom right hand side. 'Deborah D. Halpern '01'eltham, halpern, mosaic, snake, square, laurence, painted, tiles, spirit, nillumbik

In October 2000, Council invited three artists from the region (Deborah Halpern, Matcham Skipper, Tony Trembath) to submit designs for a sculpture / public art work for the Eltham Town Square. The commission was paid for by supermarket giant Safeway (Woolies) as part of its supermarket permit, which required them to contribute to beautification work in the Town Square.This is the third of three parts. The 'Spirit of Nillumbik' is a celebration of the artistic spirit of Eltham and surrounding communities. Each area is identified through the flora and fauna represented in the panels. The work honours the many creative artists and architects, past and present, who have built homes and shaped lives and livelihoods with their unique creative spirit. Halpern describes her work as a public expression of their individual and collective visions. Halpern acknowledges these contributions to our hand-made history and the influence they have on the character and identity of Eltham and Nillumbik.Realistic depiction of 'chocolate lilies' in wrought iron (three flowers in bloom, four large buds and six small buds). Chocolate lilies are indigenous to Nillumbik.N/A

Walter Withers was a significant Australian landscape artist and a member of the Heidelberg School of Australian Impressionists. In 1903 Withers bought 'Southernwood', a house on 2½ acres (1 ha) at Eltham, to which he added a studio. Because of ill health, he lived during the week at his studio in Oxford Chambers, Melbourne, and on weekends and holidays with his family at Eltham until his death in 1914. The Eltham rail bridge is a unique and valuable historic relic of an earlier steam locomotive transport era in the Diamond Creek Valley and has long formed an important part of a magnificent Eltham landscape. When built in 1902 it was close to the terminus point of the Heidelberg-Eltham rail extension, on the route of the proposed Diamond Valley Railway that was then planned to continue much further up the valley towards Kinglake. This bridge is situated in attractive river-valley parkland amidst the tall and spreading manna gums and candlebarks of the Diamond Creek Valley. The Alistair Knox Park river-valley landscape, of which the timber trestle bridge is an important visual component, has been classified by the National Trust. Large manna gum and candlebark trees adorn the adjacent creek banks, and historic Shillinglaw Cottage is also part of this much-prized Eltham landscape. Eltham is home to a historic wooden railway trestle bridge. Mainly of timber-pier and timber-beam construction, but varied by a few longer steel-joists spans on timber piers at the main stream channel, this substantial bridge has almost two hundred metres of timber deck. Built in 1902, it is the only railway bridge of predominantly timber construction that is still in regular use as an integral part of Melbourne's metropolitan electric railway network and one of extremely few timber rail bridges in the State that still carry trains. Apart from its important continuing social function as a carrier of rail transport for the Hurstbridge line, this impressive bridge and its beautiful parkland environs contribute much to the character of Eltham township and that town's special reputation as an historic centre of environmental and conservation concerns. This section of the Diamond Creek Valley was the subject of a Walter Withers painting in the earliest years of the twentieth century and has strong historic links with our Heidelberg School of painters. Watercolour painting on paper of Eltham's Trestle Bridge in the middle of the day. A small section of the wooden bridge is located to the left of the painting. The focus is predominately on the wattle, manna gum and candlebark trees that is to the right of the bridge. The golden hues typically represent the australian sunlight and landscape. "W.W" in gothic script on the lower right side of the painting. Not dated. withers, eltham, trestle bridge, railway, watercolour

Reinis Zusters OAM was born 15 October 1918 in Odessa, Ukraine, of Latvian parents. Zusters’ father died before he was two years old and he was raised in an orphanage from an early age. He had one sister. He studied Art at the Riga Technical College, Latvia, from 1935 to 1940. He married Aldija Kapteinis, and they had a daughter, Rudite (born 1942 in Riga). After World War II the Zusters family were refugees. They reached Western Australia in 1950, where they stayed for 6 months before moving to Canberra, ACT. In 1952, Zusters moved from Canberra to Pennant Hills in Sydney with his second wife, Arija Biks. Their daughter Laura was born in Sydney in 1956. In 1966, Zusters met his future third wife, Venita Salnajs. In 1969, Zusters bought a house in Greenwich, Sydney. He married Venita on September 17, 1976, and they moved to Wentworth Falls in the Blue Mountains. Zusters died on 8 October, 1999 at Wentworth Falls, and was cremated at Rookwood Crematorium, Sydney. His ashes are buried in the Latvian section of Rookwood Cemetery. Zusters studied at the Technical College of Riga (Latvia), and at East Sydney Technical College, Australia. He was influenced by his Latvian cultural heritage, and admired the artist Voldemars Tone (1892-1958). Shortly after arrival in Australia, Zusters became a draughtsman with the Department of Works and Housing in Canberra. Later he was appointed chief designer with the Australian-American architectural firm Austin-Anderson, at St. Leonards, Sydney. Zusters practised as a full-time professional artist from 1968. Zusters was a prolific painter, predominantly in oils. He produced many large landscapes, including triptychs of the Blue Mountains. His landscapes were mountain scenes prepared in the manner of Jackson Pollock and completed with washes and pale glazes of colour. His cityscapes featured a rich paint surface and sharp-edged thickness of paint applied with a palette knife, layer upon layer. He painted urban scenes of Sydney, inland Australian scenes, and several major portraits including Sir Winston Churchill’s gardener (purchased by Art Gallery of NSW). He made many small informal portrait-drawings of friends. His usual signature was “Zusters”. His work is represented in numerous public and private collections in Australia and abroad. He won numerous prestigious awards in Australia, Japan and USA and was honoured with the Order of Australia Medal in 1994.

M. J. (Merv) Murnane was a resident of Peterborough and committed member of the golf club. The C Grade trophy honours his memory. Names listed on the plaque:1988 Paul Bourke, 1989 Daniel Whitehead, 1990 K. Parsons, 1991 L. Depeler, 1992 B. King, 1993 S. Dumesny, 1994 R. Holbeach, 1995 B. King, 1996 C.O. Moore, 1997 F. O’Connor, 1998 L. Beer, 1999H. Gretton-Watson, 2000 T. Ludeman, 2001 F. O’Connor, 2002 G. Osborn, 2003 J. Brown, 2004 R.Cunnington, 2005 P. Rintoule, 2006 G. Togni, 2007 A. Gunn, 2008 P. Deppeler, 2009 B. Flanders, 2010 J. Affleck, 2011 D. Manderson, 2012 J. McKenzie, 2013 B. Stewart, 2014 Dr. G. Irvine, 2015 M.Foley, 2016 G. Densley, 2017 B. Hesketh, 2018 B. Hesketh, 2019 D. Coloretti, 2020 Covid, 2021 D.Delaney, 2022 D. BradshawSignificant as it records the C Grade championship winners over the years.Rectangular wooden plaque with individually engraved names and dates from 1992, featuring a small, attached trophy .Peterborough Golf Club M. J. Murnane Shield, C Grade Championshippeterborough, golf, sporting honour boards, golf tournament, c grade golf championship

A memorial to Mina Dunstan who lived in Peterborough for eight years and was a reporter for The Age newspaper. She was a valued member of the club and was the handicapper for some years. The cup was given by Lady members in her memory. 1982 D Taylor 49, 1983 Ettie Wright 54, 1984 S McPhillip, 1985 A Clark, 1986 June Howe 49, 1986 D Calvert 1987 J Rogers, 1988 D Smith, 1989 J Howe, 1990 M Cashmore, 1991 I King, 1992 D Smith, 1993 T Fraser, 1994 S Brown, 1995 E willox, 1996 A Maloney, 1997 E Willox, 1998 L Bourke, 1999 F Rundle, 2000 J Horton, 2001 M O'Connor, 2002 T Smith, 2003 A Corsie, 2004 W Couch, 2005 E Willox, 2006 M Hesketh, 2007 M Hesketh, 2008 M Hammond, 2009 M Hesketh, 2010 B Drake, 2011 B Drake, 2012 K Matheson, 2013 P Meade, 2014 Lorna Bourke, 2015 Tanya Cartledge, 2016 Tanya Cartledge, 2017 Katheryn Robertson, 2018 Andrea Thompson, 2019 Deb Ferrari. Significant because it records the winners of the trophy over time.A small silver cup atop a solid square plinth with shield shaped plaques around the base for engraving.Inscribed around the base of the cup and around the base of the plinth,peterborough, peterborough golf club, women's golf, mina dunstan

Painter, printmaker and sculptor Rick Amor is one of Australia's most distinguished senior artists. He was a good friend of the late George Baldessin and three times Archibald Prize winner Clifton Pugh, having lived and worked at Pugh's property, Dunmoochin in Cottles Bridge, Nillumbik during the 1980s and 90s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'The Ruin' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. Rick Amor has been an ardent supporter of the Baldessin Press & Studio and a great patron of living artists. In 2014 the Press partnered with Amor and the State Library of Victoria to create The Amor Residency at The Baldessin Press & Studio, which is part of the Library's annual fellowship program. 'The Ruin' was based on a plein air painting done by Rick Amor on a trip to Broken Hill in 2001 and reflects on death and the passing of time so eloquently portrayed by the industrial ruins of NSW. In the tradition of a Piranesi, the work emphasises the transience of life and the triumph of time. Black and white drypoint etching in which a small figure, a traveller; located bottom left, points to a large crumbling edifice (building), a stage like space in the background. Ed.14/25baldessin, print, drypoint, amor, 2018 ekphrasis, ruin, etching, ekphrasis2018

Weatherboard three story Wimmera Flour Mill, Taylor Street Stawell. Founded 1876. Demolished 1988 after 112 years. One photo is looking East/South the other is North/ West.B/W photograph of Stawell Flour Mill, 2 motor cars, 1 wooden wagon, 1 loaded railway carriage covered with tarp. Three photos, one is an enlarged photograph of the smaller photo.The Wimmera Flour Mill Comp Sunlight Flourstawell industry

Literary Institute at Pleasant Creek, Stawell West. The 1862 building has had many renovations over time. These 3 black & white photos show small changes over time. 3 B/W Photographs of two story brick building at Pleasant Creek, Stawell Literary Institute. Photos (found in Album 13, p.81) show three different views of the building and taken at different times judging by the vegetation around the building. One of the photos has a different fence what looks to be freshly painted. stawell

Circa 1902. Copied from Glass Negative. from W.J. Chapman by Mark Daswell. paid for by a grant 1991. Pioneer StudyB/W Studio Portrait. Elderly male with White Beard sitting on ornate wood chair. Male in 3 Piece suit holding a Small pipe. Medal / Medallion in Lapel

Between 1954 =- 1965 thousands of these cameras were made. This contributed to the recovery of Germany after World War 2Agfa Clack Camera in green plastic case. It is a bulky looking moulded plastic camera using 120 roll film. The enclosure holding the film is made of steel and is held to the main body by a large rotated key at bottom. The exposure counter is on the lower back. The camera takes eight 6cm x 9cm photos on the 120- film.|a small view finder is fitted on the top of the camera. It has two speeds B (bulb( for long exposures and M for standard photos. Speed is approx 1/30 second with two aperture settings - f11 = overcast; and f12.5 = sun. Six pieces make up the set.AGFA Agfa Camera -Werk AG Clackphotography, cameras