The Terminus Hotel, Wodonga was built by James Thompson Hatch in 1873, the same year the railway reached Wodonga from Melbourne. It was named due to its close proximity to the railway terminus. It was sold to Messrs George Day and Kenneth McLennan of Albury. It was first licenced to J.G. Morton in January 1874. Annie Allen, from Ireland, took over as licensee of the hotel containing 14 rooms in 1879, after she and her husband, George James Allen, purchased it. In 1887 they added a new wing on the south boundary of the property next to Peter McLean’s store at 81 Sydney Road. The architects for the new wing were Gordon and Gordon. A billiard room, a dining room, and 18 other rooms were added on the vacant block of land between the Hotel and the Bank of Victoria. A balcony 6 feet wide was added on the north side. Included in the plans was the latest patent elevator, later known as a dumb waiter. Allen died in 1889 aged 52, and Annie Allen continued to run the Terminus. She later married John G. Haldon and was licensee of the hotel until December 1898 when the licence was transferred to William Carkeek. Carkeek, from Cornwall, arrived in the colony around 1860 and is considered one of the founders of Tallangatta. In November 1903, the license was transferred to Daniel Crawford, then in 1906 it was transferred to Mr Stephen Carkeek. In 1916 it passed into the hands of Mr H. W. Allen of Rutherglen, son of Mr George James Allen. On 1st June 1998 the Terminus Hotel was destroyed by fire. Estimates of damage range from between a conservative $750,000 to as high as $2 million. The remains of the building were demolished in 1999.The Terminus Hotel was one of the earliest hotels in Wodonga with clear links to the establishment of the railway line. It was an important business and meeting place for social gatherings.In 1879, the Terminus Hotel was purchased by Annie and George Allen. The hotel was advertised as a two storey brick building with bar, large dining and four rooms on the ground floor, all and commodious cellar. Upstairs a large parlour and 13 bedrooms. There was also a four-roomed weatherboard cottage, a blacksmith's shop and other buildings. The Allens had about 20 years of ownership, with Annie continuing to hold the licence under her new married name of Annie Haldon after George had died in 1889. In 1888, the Allens undertook extensive additions and renovations. Annie remained as the proprietor of the building until her death in 1904, but the business was leased to William Carkeek in December 1898. The building was eventually auctioned as part of the finalising of Annie's estate in 1909.hotels wodonga, businesses wodonga, terminus hotel wodonga

The Terminus Hotel, Wodonga was built by James Thompson Hatch in 1873, the same year the railway reached Wodonga from Melbourne. It was named due to its close proximity to the railway terminus. It was sold to Messrs George Day and Kenneth McLennan of Albury. It was first licenced to J.G. Morton in January 1874. Annie Allen, from Ireland, took over as licensee of the hotel containing 14 rooms in 1879, after she and her husband, George James Allen, purchased it. In 1887 they added a new wing on the south boundary of the property next to Peter McLean’s store at 81 Sydney Road. The architects for the new wing were Gordon and Gordon. A billiard room, a dining room, and 18 other rooms were added on the vacant block of land between the Hotel and the Bank of Victoria. A balcony 6 feet wide was added on the north side. Included in the plans was the latest patent elevator, later known as a dumb waiter. Allen died in 1889 aged 52, and Annie Allen continued to run the Terminus. She later married John G. Haldon and was licensee of the hotel until December 1898 when the licence was transferred to William Carkeek. Carkeek, from Cornwall, arrived in the colony around 1860 and is considered one of the founders of Tallangatta. In November 1903, the license was transferred to Daniel Crawford, then in 1906 it was transferred to Mr Stephen Carkeek. In 1916 it passed into the hands of Mr H. W. Allen of Rutherglen, son of Mr George James Allen. On 1st June 1998 the Terminus Hotel was destroyed by fire. Estimates of damage range from between a conservative $750,000 to as high as $2 million. The remains of the building were demolished in 1999.The Terminus Hotel was one of the earliest hotels in Wodonga with clear links to the establishment of the railway line. It was an important business and meeting place for social gatherings.In 1879, the Terminus Hotel was purchased by Annie and George Allen. The hotel was advertised as a two storey brick building with bar, large dining and four rooms on the ground floor, all and commodious cellar. Upstairs a large parlour and 13 bedrooms. There was also a four-roomed weatherboard cottage, a blacksmith's shop and other buildings. The Allens had about 20 years of ownership, with Annie continuing to hold the licence under her new married name of Annie Haldon after George had died in 1889. In 1888, the Allens undertook extensive additions and renovations. Annie remained as the proprietor of the building until her death in 1904, but the business was leased to William Carkeek in December 1898. The building was eventually auctioned as part of the finalising of Annie's estate in 1909.hotels wodonga, businesses wodonga, terminus hotel wodonga

The Terminus Hotel, Wodonga was built by James Thompson Hatch in 1873, the same year the railway reached Wodonga from Melbourne. It was named due to its close proximity to the railway terminus. It was sold to Messrs George Day and Kenneth McLennan of Albury. It was first licenced to J.G. Morton in January 1874. Annie Allen, from Ireland, took over as licensee of the hotel containing 14 rooms in 1879, after she and her husband, George James Allen, purchased it. In 1887 they added a new wing on the south boundary of the property next to Peter McLean’s store at 81 Sydney Road. The architects for the new wing were Gordon and Gordon. A billiard room, a dining room, and 18 other rooms were added on the vacant block of land between the Hotel and the Bank of Victoria. A balcony 6 feet wide was added on the north side. Included in the plans was the latest patent elevator, later known as a dumb waiter. Allen died in 1889 aged 52, and Annie Allen continued to run the Terminus. She later married John G. Haldon and was licensee of the hotel until December 1898 when the licence was transferred to William Carkeek. Carkeek, from Cornwall, arrived in the colony around 1860 and is considered one of the founders of Tallangatta. In November 1903, the license was transferred to Daniel Crawford, then in 1906 it was transferred to Mr Stephen Carkeek. In 1916 it passed into the hands of Mr H. W. Allen of Rutherglen, son of Mr George James Allen. On 1st June 1998 the Terminus Hotel was destroyed by fire. Estimates of damage range from between a conservative $750,000 to as high as $2 million. The remains of the building were demolished in 1999.The Terminus Hotel was one of the earliest hotels in Wodonga with clear links to the establishment of the railway line. It was an important business and meeting place for social gatherings.In 1879, the Terminus Hotel was purchased by Annie and George Allen. The hotel was advertised as a two storey brick building with bar, large dining and four rooms on the ground floor, all and commodious cellar. Upstairs a large parlour and 13 bedrooms. There was also a four-roomed weatherboard cottage, a blacksmith's shop and other buildings. The Allens had about 20 years of ownership, with Annie continuing to hold the licence under her new married name of Annie Haldon after George had died in 1889. In 1888, the Allens undertook extensive additions and renovations. Annie remained as the proprietor of the building until her death in 1904, but the business was leased to William Carkeek in December 1898. The building was eventually auctioned as part of the finalising of Annie's estate in 1909.hotels wodonga, businesses wodonga, terminus hotel wodonga

The first Presbyterian Church in Beaufort, located at corner of Livingstone and Warburton streets. Closed Nov 21 1909 when the new church was opened in Livingstone Street. The building was used as a Sunday School until it was destroyed by fire on 23 November 1963.Black and White Photograph of the wooden Presbyterian Churchnonebeaufort, beaufort buildings, beaufort church

By 1900 Marshall & Company was the largest shoe & boot manufacturer in Australia producing 12,000 pieces of footwear weekly. A fire in1901 gutted the building and the company moved to Richmond. Faded photograph of the three-story building belonging to the Marshall Manufacturing Company which was established in Port Melbourne in 1888. It employed some 300 workers until destroyed by fire in 1901.industry - manufacturing, marshall & co manufacturers

Wooragee Landcare Group took a bus trip Sunday 5th September to Samaria, Tatong area (near Benalla) to look at land use on small farms. Around this time, Wooragee Landcare were looking into how small land holders could run some enterprises. This photo was taken at Tatong Tavern where the group had lunch. The Tatong Tavern is an old English style pub situated in the foothills of the Great Dividing Range the small community of Tatong 23km south-east of Benalla. The original weatherboard hotel was originally built in the 1880s by William Worrall who was listed as Hotel Keeper from 1886 to 1910. It was destroyed by fire in 1923 and replaced by the current building, which has undergone many changes over the past 100 years. The name has also changed from the Tatong Hotel or ‘Pub’ to the current name of Tatong Tavern.Tatong is a rural village in north-east Victoria, set in undulating country that rises southwards to the Tolmie ranges. The name is thought to derive from an Aboriginal expression, possibly referring to something unseen. The Tatong pastoral run was taken up in 1847 and farm selections began in the 1870s. A school opened in 1890 (closed in 2006). Dairy herds were grazed on the Tatong flats and a cooperative creamery operated from 1892 until 1918. In 1914 a branch railway line was opened from Benalla to Tatong that carried farm produce and timber to Tatong, which had two sawmills in the 1920s. There was also a general store, a police station, and a livestock trucking yard. St Albans Church of England was built in 1921. Most of those buildings have now disappeared. The Tatong Tavern along with the Hall built in 1904 are the only remaining buildings. The Tatong Tavern is a significant tangible and visual representation of the area’s cultural and social history over the past 100 years. Coloured rectangular photograph printed on paperReverse: WAN NA E0NA2N2. NNN- 14240/ (No. 20) 373/ tatong, tatong pub, tatong tavern, tolmie ranges, tatong flats, benalla, wooragee landcare, wooragee landcare group, bus trip, samaria, land use, william worrall, 1800s, 2004, mount samaria

This photograph was taken at Tatong Tavern, Victoria on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee was also researching how small landholders could run some enterprises around the time of the trip. This photograph includes Jo Luisi, Bob Bennet, Christine Stewart, and Julius Holt. Tatong Tavern was built in the 1880's as Tatong Hotel or 'Pub' hotel for Mr. William Worrall. The original hotel was destroyed in 1923 by a fire, but was rebuilt for Mr. M. C. Clarke. The building is a representation of the changing society, as it changes as its uses and visitors change. The photograph shows the beer garden, which has been added more recently. The Tavern has a bar, restaurant, and accommodation area. Wooragee Landcare Group was created in 1988. Its core mission is to work towards eradicating animals and pests from the land to protect the natural vegetation and promote revegetation projects.This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management. It showcases the social aspect of the Group, as well as the historic Tatong Tavern. Landscape colored photograph printed on gloss paper. Reverse: WAN NA E0NA2N2. NNN+ 1 4240/ [PRINTED] (No. 22) / 375wooragee, wooragee landcare group, wooragee landcare's collection, land use, social, tatong tavern, tatong hotel, tatong pub

This photograph was taken at Tatong Tavern, Victoria on Sunday the 5th of September as part of a day trip by the Wooragee Landcare Group. The event was about looking at land use on small farms and as a social get-together for the Group. Wooragee was also researching how small landholders could run some enterprises around the time of the trip. This photograph includes Christine Stewart, Julius Holt, Graeme Missen, Peter Finedon, and Sue Brunskill. Tatong Tavern was built in the 1880's as Tatong Hotel or 'Pub' hotel for Mr. William Worrall. The original hotel was destroyed in 1923 by a fire, but was rebuilt for Mr. M. C. Clarke. The building is a representation of the changing society, as it changes as its uses and visitors change. The photograph shows the beer garden, which has been added more recently. The Tavern has a bar, restaurant, and accommodation area. Wooragee Landcare Group was created in 1988. Its core mission is to work towards eradicating animals and pests from the land to protect the natural vegetation and promote revegetation projects.This photograph is a great example of the type of events that Wooragee Landcare Group has organized, while educating the public about the importance of land use management. It showcases the social aspect of the Group, as well as the historic Tatong Tavern.Landscape colored photograph printed on gloss paper. Reverse: WAN NA E0NA2N2. NNN+ 2 4240 / [PRINTED] (No. 23) / 376wooragee, wooragee landcare group, wooragee landcare's collection, land use, social, tatong tavern, tatong hotel, tatong pub

The fountain in the image is at the entrance to the 'Emu Bottom' homestead. George Evans squatted on land to graze sheep, along the Jacksons Creek Valley, originally known as Buttlejork Valley, in 1836 and built the homestead from local Silurian sandstone and timber. Over the years it has had a number of owners. In the 1920s the property was renamed 'Holly Green' by H.L Webb after a property in Narre Warren.In the 1950s it was renamed 'Emu Bottom'. Over the years a number of fires have destroyed parts of the building and as a result, little of the original building remains. The fountain was erected in 1936 to mark the centenary of the property as well as 100 years of European settlement in theSunbury area. The property is now a private residence and function centre.'Emu Bottom' is one of the oldest homesteads in Victoria.A small non-digital sepia photograph with a cream border of a fountain, with a horse trough around the base, at the entrance of a rural property.'emu bottom', holly green, sunbury, jacksons creek, buttlejork valley, george evans

In 1878, J H Abbott bought the Edinburgh tannery from Mr Lambert and Mr Sibley in 1878 and set about expanding and modernising it. Soon it consisted of the necessary sheds surrounded by cottages built for the workers. The tannery buidings and processes consisted of :- 1. Hide shed that held 400-500 salted hides 2. Salt pots where the salted hides were soaked to remove all salt 3. Lime water pits where the hides were soaked to remove hair and all adherent flesh. 4.Beam shed where hides were hung so they could be scraped clean with double handled knives 5. Water baths that soaked the hides to remove the lime 6. Tan yard where there were 10 pits containing tanning liquid made from ground wattle bark. The entire process could take up to 9 months depending on the type of leather required. A forward thinking initiative of this tannery was the lack of waste. The left over flesh was boiled down to make tallow, trimmings from the hides was used to make glue, hair was washed and used by saddlers and upholsterers and the lime was mixed with tanning liquid to produce fertilizer. The tannery was producing about 240 sides of leather a week, with about two thirds of this being sent to England where it was in great demand because of its quality. In December 1894 the plant was destroyed by a fire believed to have started in the engine room. The plant was quickly rebuilt at an estimated cost of ten thousand pounds. The plant at 145 Tannery Lane operated until 1906.Sepia photograph: 13 workmen, shed at rear. Brick, timber, corrugated iron buildings in back ground. Interesting industrial site of the time. Photo of workmen taken in front of open sheds. Brick chimney and pile on L.H.S. Suggests Edinburgh Tannery, Sheepwash. J.H Abbott & Co. On back on small piece of paper 1127 Bgo. New registration No. rather indistinct. James Lerk 26.11.1999, ' Edinburgh Tannery - Sheepwash?' Ken Arnold Book 'Bendigo A History in Bottles & Stoneware 1852-1930 p10. This photograph labelled 'Workers at Sheepwash Tannery,' C. 1880-1890 with section about J.H. Abbott & Co. See book 'Bendigo A History in Bottles & Stoneware 1852-1930 by Ken Arnold, p.10RHSV 1127, Bgoorganization, business, edinburgh tannery, sheepwash creek.

Bacchus Marsh Express of 7 November 1874 reports that this building was designed and erected by Mr Jeremiah Ryan for Mr H. G. Salter, draper. Mr Salter gave the name of "Hall of Commerce" to the building, a term in common usage at the time. The building was of a substantial size. In the Express of January 4 1879 Messrs Basham and Bradley advertised a wide variety of goods including drapery, millinery, ready-made clothing, boots and shoes and furniture. At the front of the building was the first pavement in the township. This photo forms a contrast with the photograph (also taken by Stevenson & McNicoll in 1883) of Timmons Clothier and Draper, but depicting an older building from 1857. This business was on the verge of closure, Mr Timmons conducting his business as a travelling salesman, taking his goods by horse and cart to outlying districts. The image provides an example of the growing scale of retail development in Bacchus Marsh in the late nineteenth century.This photograph is a record of a prominent commercial building that has undergone substantial change. The image shows the original upper floor which was destroyed by fire in 1928.The building retains its usage as a commercial premises.Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'. Photograph of a two storey brick building with a front verandah. Various signage on second storey front and side, and on verandah, including: Hall of Commerce. Boots & Shoes. Men and Boy's Clothing. Furniture and Bedding. J. Carter Outfitter. Basham & Bradley. Milliners and Dressmakers. General Drapers. General Drapery. Warehouse. Latter signage obscures earlier signage. The photographer has captured a young girl sitting on a bench at the front of the store.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. Handwritten: Hall of Commerce. Cr. Main + Graham Sts built 1874 by Jeremiah Ryan. Destroyed by fire 1928. Courtesy Mrs. Jeremeas. Photo 1883.stevenson and mcnicoll 1883 photographs of bacchus marsh and district, shops bacchus marsh vic., bacchus marsh hall of commerce

Darwin was bombed a total of 64 times during the war. The biggest and most deadly air-raids occurred on19/1/1943. Two hundred and forty two Japanese aircraft bombed the township, harbour and 2 airstrips. There were 235 deaths, 9 ships sunk in the harbour and 9 aircraft destroyed.Bendigo Advertiser ''The way we were'' from Monday, December 30, 2002. Survivor: more from the Darwin series of photos from 1942 during World War 2. This one shows the Darwin hospital. The hospital was one of the few buildings to survive both the Japanese bombing and the devastation of cyclone Tracy. The clip is in a folder.newspaper, bendigo advertiser, the way we were

The Work “The Birds of Australia; containing over 300 full-page illustrations, with a descriptive account of the life and characteristic habits of over 700 species” by Gracius J. [Joseph] Broinowski – Australian author, artist and ornithologist - was created in 40 parts for subscribers and sold for 10s [shillings]., These parts were later published in six volumes, which were later published and bound in pairs to make three volumes, each of which contain two of the six original volumes, numbered volumes, “I”, “III” and “V” on their fly page, but numbered “Vols. I-II”, “Vols. III-IV” and “Vols. V-VI” on their respective spines. The volumes were all published by Charles Stuart & Co. (Melbourne, Sydney, Adelaide, Brisbane, New Zealand, and Tasmania). All of the beautifully drawn and coloured illustrations in The Birds of Australia were illustrated by Broinowski. They were printed using a new 19th century method called chromolithography. This is the art of making multi-coloured prints. The skilled lithographer would work from an original coloured painting and create a copy for every one of the many layers of colour used to build the painting. These layers were then printed carefully over each other to re-build the picture. Gracius J. Broinowski’s Work “The Birds of Australia” was described by Jean.Anker as “a semi-popular but comprehensive treatment of the subject” in the book “Bird Books and Bird Art: an outline of the Literary History and Iconology of Descriptive Ornithology” 1979. It may be that these books were donated to, or ordered specifically for, the Warrnambool Public Museum, due to the embossing on the spine “WARRNAMBOOL PUBLIC LIBRARY”. The acquisition of these books would most likely to have made 1891-1910, between the date the books were published and the date that the Museum amalgamated with the Mechanics Institute, which then became part of The Museum and Art Gallery. These three books were part of the collection of books belonging to the Warrnambool Public Museum, established 1873 by Joseph Archibald. The Museum moved into the back of the Mechanics’ Institute in 1885, along with the Art Gallery and School of Dancing. In 1886 it was officially opened as The Warrnambool Museum and Art Gallery, with Joseph Archibald as its curator. In 1887 the Museum section was moved to the former court house in Timor Street, with Joseph Archibald as Curator until 1897. In 1910 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. In 1935 Ralph Pattison was appointed as City Librarian. He developed his own sorting and cataloguing system and organised the collection of books accordingly. In the 1960’s the Warrnambool City Council closed down the Museum and Art Gallery and the books and artefacts were redistributed to other organisations in Warrnambool. Each spine of this book set, The Birds of Australia by Gracius Broinowski, shows a space on which a previous cataloguing label may have been affixed. The volumes are amongst the many books at Flagstaff Hill Maritime Village that display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. Some other Australian Libraries also include these books in their collections; Australian National University, University of NSW, University of Western Australia, State Library of Western Australia, Deakin University, Queen Victoria Museum and Art Gallery, University of Adelaide, University of Queensland, University of Tasmania. The Library of Congress and the University of British Columbia also have sets of these volumes. These books are considered as Rare Book; a set of Broinowski’s 3 volumes was advertised in Melbourne’s Rare Book Fair 2012, “for ornithological collectors”. (See the more detailed information below in “Warrnambool Public Museum and Mechanics Institute” and the “Pattison Collection”.) GRACIUS JOSEP BROINOWSKI Gracius Joseph Broinowski (7/3/1837 – 11/4/1913), artist and ornithologist, was born in Walichnowy, Poland, son of a landowner and military officer of the same name. He was educated privately then later, at the Munich University, he was a student of languages, classics and art. To avoid conscription into the Russian army, he migrated to Germany. At the age of about 20 years he migrated to Portland (Victoria, Australia), working his passage as part of the crew of a windjammer. Broinowski worked in the country for a few years then found employment working for a Melbourne publisher and later sold his own paintings. In about 1863, while on one of his many travels in eastern Australia painting landscapes and scenes, he married Jane Smith in Richmond, Victoria (her father was captain of a whaler). In 1880 he settled in Sydney where his work involved teaching painting, lecturing on art and exhibiting his own work at showings of the Royal Art Society. Also in the 1880s he began to publish illustrated works on Australian natural history, including; - illustrations of the birds and mammals of Australia, commissioned by the Department of Public Instruction, New South Wales, and mounted, varnished and hung on walls in many classrooms - "The Birds and Mammals of Australia"; a bound collection of illustrations with appropriated text - 1888 "The Cockatoos and Nestors of Australia and New Zealand" - 1890-1891, "The Birds of Australia" Broinowski died in 1913 at Mosman, Sydney, survived by his wife, six sons and a daughter. His son, Leopold, became a significant political journalist in Tasmania. WARRNAMBOOL PUBLIC MUSEUM & MECHANICS INSTITUTE Warrnambool's Mechanics' Institute (or Institution as it was sometimes called) was one of the earliest in Victoria. On 17th October 1853 a meeting was held where it was resolved to request the Lieutenant Governor of the Colony to grant land for the erection of a Mechanics' Institutes building. A committee was formed at the meeting and Richard Osburne chaired the first meeting of this committee. The land on the North West corner of Banyan and Merri Streets was granted but there were no funds to erect the building. The Formal Rights of the Warrnambool Mechanics' Institute's encompassed its aims and these were officially adopted in1859; "This Institution has for its object the diffusion of literary, scientific, and other useful knowledge amongst its members, excluding all controversial subjects, religious or political. These objects are sought to be obtained by means of a circulating library, a reading room, the establishment of classes, debates, and the occasional delivery of lectures on natural and experimental philosophy, mechanics, astronomy, chemistry, natural history, literature, and the useful and ornamental arts, particularly those which have a more immediate reference to the colony." The Warrnambool Mechanics' Institute opened its first reading room in December 1854 in the National School building at the corner of Banyan and Timor Streets. The Institute was funded by member subscription, payable on a quarterly, half yearly or yearly basis. Samuel Hannaford, the Manager of the Warrnambool Bank of Australasia, was the first Honorary Secretary of the Mechanics' Institutes, and an early President and Vice-President. He also gave several of the early lectures in the Reading Room. Another early Secretary, Librarian and lecturer was Marmaduke Fisher, the teacher at the National School. Lecture topics included The Poets and Poetry of Ireland', 'The Birth and Development of the Earth', 'The Vertebrae - with Remarks on the pleasures resulting from the study of Natural History' and 'Architecture'. In 1856 the Reading Room was moved to James Hider's shop in Timor Street, and by 1864 it was located in the bookshop of Davies and Read. In the 1860's the Mechanics' Institute struggled as membership waned but in 1866, after a series of fund raising efforts, the committee was able to purchase land in Liebig Street, on a site then called Market Square, between the weighbridge and the fire station. A Mechanics' Institute building was opened at this site in August 1871. The following year four more rooms were added to the main Reading Room and in 1873 the Artisan School of Design was incorporated into the Institute. The same year, 1873, Joseph Archibald established the Warrnambool Public Museum [Warrnambool Museum], however it deteriorated when he was transferred to Bendigo in 1877. In 1880, with Archibald's return to Warrnambool, the Museum was re-established and he served as Curator 1882-1897. In 1885 a new building was added to the back of the Mechanics’ Institute to accommodate the re-created School of Design, the Art Gallery and the Museum. It was officially opened as the Warrnambool Museum and Art Gallery on 26th July 1886 with Mr Joseph Archibald as Curator. In 1887 the Museum section was moved to the former court house in Timor Street (for some time the walls of the building formed part of the TAFE cafeteria but all is now demolished). In 1910 the Museum was transferred back to the original building and the management of the Mechanics' Institute was handed over to the Warrnambool City Council. The Museum and Art Gallery became one and housed many fine works of art, and the Library continued to grow. The building was well patronised, with records showing that at the beginning of the 20th century there were between 500 and 800 visitors. During World War One the monthly figures were in the thousands, with 3,400 people visiting in January 1915. The Museum was a much loved Institution in Warrnambool until 1963 when the Museum and Art Gallery was closed and the contents removed to make room for the Warrnambool City Council Engineers' Department. The contents were stored but many of the items were scattered or lost. The Museum has never been re-opened. When the original building was demolished the site became occupied by the Civic Centre, which included the new City Library. (The library was temporarily located in the old Palais building in Koroit Street.) In the process of reorganisation the Collection was distributed amongst the community groups: -The new City Library took some of the historic books and some important documents, historic photographs and newspapers. -The Art Gallery kept the 19th Century art collection and some of the artefacts from the museum. -The Historic Society has some items -The State Museum has some items -Some items were destroyed -Flagstaff Hill Maritime Village has old newspapers, Government Gazettes, most of the Mechanics' Institute Library (which included books from the Warrnambool Public Museum), ledgers and documents connected to the Mechanics' Institute Library, some framed and unframed art works and some photographs. THE PATTISON COLLECTION These books “The Birds of Australia” by Broinowsky, are also listed as part of the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library, as the Warrnambool Mechanics’ Institute was then called. When the Warrnambool Mechanics’ Institute building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the Warrnambool Mechanics’ Institute. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the Warrnambool Mechanics’ Institute were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1945 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. References: Archibald Street, Discover the History of Warrnambool Streets, https://www.warrnambool.vic.gov.au/sites/warrnambool.vic.gov.au/files/images/Property/roads/The%20story%20of%20Warrnambool's%20streets.pdf Broinowski, Bird Books and Bird Art etc, Jean Anker 1979, https://books.google.com.au/books?id=B5TpCAAAQBAJ&pg=PA66&lpg=PA66&dq=the+birds+of+australia,+broinowski,+bird+books+and+bird+art&source=bl&ots=nQroxqePdY&sig=a3lnn-_FqB-ZcFAwqRYVK6Y7ZeM&hl=en&sa=X&ved=0ahUKEwj5sL7-2JTSAhWIyLwKHaCHAJcQ6AEIUTAN#v=onepage&q=the%20birds%20of%20australia%2C%20broinowski%2C%20bird%20books%20and%20bird%20art&f=false Broinowski, Gracius Joseph, by A.H. Chisholm, Australian Dictionary of Biography http://adb.anu.edu.au/biography/broinowski-gracius-joseph-3061 Chromolithography, Wikipedia https://en.wikipedia.org/wiki/Chromolithography Document, Flagstaff Hill, ‘Mechanics’ Institute Collection’: Books on Dean, Melbourne Rare Book Fare 2015, BookFare Newsletter #5, www.anzaab.com/newsletters/BookFare_1207.pdf Flagstaff Hill archives; document “Re: Ralph Eric Pattison”] Gracius Broinowski, Wikipedia https://en.wikipedia.org/wiki/Gracius_Broinowski Gracius Joseph Broinowski, Design & Art Australia online, https://www.daao.org.au/bio/gracius-joseph-broinowski/biography/ Mechanics' Institutes of Victoria Pg ix, 283; Significance Assessment, Warrnambool Mechanics’ Institute Books, FHMV, 2010 The Birds of Australia by Gracius J. Broinowski, Libraries of Australia, Trove http://trove.nla.gov.au/work/12425131?q&sort=holdings+desc&_=1487246530281&versionId=210683608 The Birds of Australia, Broinowski; www.Librarything.com The History of Warrnambool, R. Osburne, 1887, p.72, p. 283 The Warrnambool Mechanics’ Institute – FHMV datasheet Warrnambool Art Gallery History, Warrnambool Art Gallery Foundation Information Booklet, http://www.wagf.com.au/cms/downloads/WAGF-Information-Booklet.pdf Warrnambool Museum and Art Gallery, The Argus, 29th July 1886 Web; The Birds of Australia (Broinowski), Wikipedia The Birds of Australia by Gracius J. Broinowski is a respected source of scientific information. It is also significant for its rarity and as an early Australian Work. The book is significant for its association with the Warrnambool Public Museum, which played an important educational and social role in the early settlement of Warrnambool and District. The book is also significant for its association with the Warrnambool Mechanics' Institute Library book collection, which is deemed to be of great importance because it is one of the few collections in an almost intact state, and many of the books are now very rare and of great value. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The book is also significant for its inclusion in the Pattison Collection, a collection that as a whole shows a snapshot of the types of reading material offered to the local public at that point in time The Birds of Australia Vol 1-2 Author and Illustrator: Gracius J Broinowski Publisher: Charles Stuart & Co Date: 1890 - 1891Label on spine cover with typed text RA 598.2 BRO Embossing added to spine “WARRNAMBOOL PUBLIC MUSEUM" Pastedown front endpaper has sticker from Warrnambool Mechanics Institute and Free Librarythe birds of australia vol 1-2, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, the birds of australia, gracius joseph broinowski, charles stuart & co, joseph archibald, warrnambool public museum, warrnambool museum, warrnambool library, warrnambool art gallery, warrnambool city librarian, pattison collection, ralph eric pattison, samuel hannaford, warrnambool mechanics’ institute and free library, mechanics’ institute library, victorian library board, warrnambool books and records, rare books, australian bird illustrations, australian bird text, australian natural history

Ruins of Gustav Mahnke’s Bakery Shop Corner of Main Street and Wimmera Street Stawell destroyed by fire 1922. The Chimneys left standing would have belonged to the ovens. Firemen Left R. Chapman - extreme right Alf Pickering , inspecting damage. The Post Office Hotel and the destroyed bakery on the corner of Main and Wimmera Streets. Gustav Mahnke, a German, was a borough Councilor, Mayor for three successive terms - 1904-07. Note extreme right in the backgorundbehind trees - Stawell Baths.B/W. Photograph of the ruins of a burnt building, next to a Hotel with four men.Part of a sign reading "TEL"stawell business streetscape

The Little Wonder Store was built in 1883 from materials of the demolished Maddingley School. It was located on the corner of Grant Street and Labilliere Street. In 1886 James Alford obtained a licence to conduct the Railway Hotel and General Store there. A second storey was added later and the building continued to operate as the Railway Hotel. It was destroyed by fire in 1998. The photo also shows the covered wagon of a travelling salesman, who were known as ‘hawkers’, who were significant in the supply of goods and news to outlying towns and districts before the development of road and rail networks. Small sepia 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll. The photo shows a single-storey building of bluestone and brick with two signs on the front and side, the front sign reading “THE LITTLE WONDER” and the side sign “GENERAL STORE”. Above the door is a sign with the name ‘James Alford’. The windows display the merchandise of the store. Outside the store is a travelling salesman’s cart pulled by two horses. The salesman sits in the cart ready to drive off. Standing along the street outside the store are three men, three women and two young children.Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, shops bacchus marsh, general stores bacchus marsh vic., hawkers, hotels bacchus marsh

The building being demolished in the photograph is the Railway Hotel which was destroyed by fire in 1936. It was decided to demolish the old building and rebuild a more modern hotel on the Brook/Evans Street corner where the old building had stood for 61 years.A non-digital black and white photograph with a cream border of a single storey building undergoing demolition. Two other buildings are visible on the site.royal hotel, brook street, evans street, hotels

Image 12 Ward House built by owner 1950 Partly destroyed by fire in 1967 Rebuilt in 1968 re-using original mudbricks The Alistair Knox Collection The Alistair Knox Collection is a series of mounted enlarged photos of mud brick houses and related subjects. The collection is understood to have been put together by Alistair Knox although it is the work of several unacknowledged photographers. For some years it was held by the Building Department of the former Eltham Shire Council and was then passed to our Society for safekeeping. Some of the photos have been used in Knox's books and from time to time some of them have been part of various historical displays. As far as we know there has not been a public display of the whole collection which numbers about forty photographs. The collection has been copied on to slides for the purpose of this meeting and to be retained as part of the Society's pictorial collection. Alistair Knox 1912 - 1986 is acknowledged as the founder of Eltham's mud brick building movement. Many of the buildings shown in the collection are of his design and he was also involved with the construction of several of them. Others are the work of his contemporaries and associates such as Peter Glass, Gordon Ford, and John Harcourt. (EDHS Newsletter No. 145 July 2002)Handwritten notes in pencil re details of building, year of construction, owner, designer, builder, etcalistair knox design, houses, mud brick construction, ward house, alistair knox collection

The Little Bank Building at the corner of Anzac Avenue, formerly a Commercial Bank of Australia branch, was moved to Hurstbridge around 1917. It was one of a few portable branch buildings, towed by horse or bullock team to a site as required. The branch operated until the early 1980s. In 1985 it was moved about 42 metres south to the Allwood House grounds to become part of the Hurstbridge Neighbourhood House. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p13This 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, cba bank, commercial bank of australia, hurstbridge, little bank building, portable buildings

Nillumbik Shire Council transferred to the former Diamond Valley Shire Offices in Greensborough after municipal restructuing. The offices became the official Nillumbik Shire Council Offices on 16 October 1995. The former Shire of Diamond Valley Civic Centre or Shire Office building was officially opened on 26th February 1972. Archtiects were A.K. Lines, McFarlane & Marshall and it was built by L.U. Simon Pty Ltd, The Diamond Valley Shire had been created in 1964 from part of the City of Heidelberg. On December 15, 1994 the Shire of Nillumbik was established. Under the Council amalgamations imposed by the Kennett government, the Shire of Eltham, Shire of Diamond Valley and City of Heidelberg ceased to exist with the establishment of Nillumbik Shire Council and the City of Banyule.The new Nillumbik shire surrended the west riding from Eltham to Banyule but in place gained parts of the former Diamond Valley Shire which itself had been created in 1964 from parts of the City of Heidelberg. Three unelected and non-local Commissioners were put in place by the government bringing democracy into question by many members of the local community. The Commissioners determined to abandon the former Shire of Eltham offices located in Main Road, Eltham and in turn occupy the former Shire of Diamond Valley offices located at the boundary of the new shire with Banyule, in Civic Drive, Greensborough. In July 1996 the Commissioners sold the former Eltham Shire Offices and had them bulldozed leading to many years of communiity protest over the process and future development applications. The site has remained vacant ever since. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p43 It was the need for roads that led to this district’s first council. In 1853 a committee was formed to improve the rough roads, some in Kangaroo Ground being almost impassable in winter.1 The committee fundraised by voluntary levies and grants to improve in particular, the main road between Kangaroo Ground and the Plenty River. From this committee arose the Eltham District Road Board, in 1856, which was the precursor to the Eltham Shire Council. The Board’s first chairman was Kangaroo Ground farmer, John Barr. Secretary was the former committee’s secretary, Andrew Ross, Kangaroo Ground’s first school teacher, and founder of the district newspaper, The Evelyn Observer.2 Most of the board’s income came from a toll-house north of the Lower Plenty Bridge, which funded such projects as a road from Kangaroo Ground to the Caledonia Diggings. In 1871 the Shire of Eltham was proclaimed, with its boundaries the same as those of the Road Board, and Councillor A Donaldson of Kangaroo Ground was the first president. Eltham was at the southern tip of the shire, which extended north to Kinglake and east beyond Yarra Glen. In 1878, part of Kinglake was added to the shire, while the area east of Watts River, near Healesville was removed. In 1912, then again in 1958, the shire was further reduced. Yarra Glen, Steels Creek, Tarrawarra, parts of Healesville and Christmas Hills, were transferred to the Shire of Healesville. In 1972 a smaller area, at Kinglake, was transferred to the Shire of Yea, leaving 277 square kilometres in the Eltham Shire. Perhaps no other Victorian municipality has had so many meeting places. Although from 1858 to 1904, the council convened at the office in the home of Secretary Charles Wingrove, the board, and later the council, also met at other more central locations.3 The board moved from the Fountain of Friendship Hotel to the Eltham Courthouse, to the Kangaroo Ground schoolhouse. It then met at the Kangaroo Ground Hotel, which some considered put it in danger of interruptions by people ‘the worse for liquor’.4 In 1885 the council met at the hall on Mr J Donaldson’s land at Kangaroo Ground. After Wingrove’s retirement, the council rented space at the Kangaroo Ground General Store and Post Office. Then, in 1917, the council bought the former office of The Evelyn Observer, after its printing works transferred to Hurstbridge. In 1934, fire destroyed the shire office, which was temporarily relocated to the Kangaroo Ground home of Shire Secretary, Mr P J McMahon. In 1941, the shire office moved to a new building (which included a public hall) in Eltham, at the corner of Arthur Street and Main Road, where the Eltham Village Shopping Centre was eventually built. Growth required new offices, which opened in 1965, on the former Shillinglaw property in Main Road.5 In 1994, as part of municipal restructuring under the Jeff Kennett Liberal Government, most of the Eltham Shire formed part of the new Shire of Nillumbik. It joined with the north section of the Diamond Valley Shire and parts of the Healesville and Whittlesea municipalities. The Diamond Valley Shire had been created in 1964, from part of the City of Heidelberg. Turbulence followed Nillumbik Shire’s formation. Under the Commissioners the council transferred to the former Diamond Valley Shire offices in Greensborough, and the Eltham council offices were demolished. In March 1997 the first five-member Nillumbik Council was elected. But, in October 1998, the government suspended the council and appointed an administrator . Early in 1999, shire residents voted to increase councillors to nine: comprising five ward councillors and four shire-wide councillors. Elections were held in March 1999. Then, before the March 2002 elections, nine new wards were created.6 In 2008 these were reduced to seven. Today [2008] the council governs a varied population of more than 60,000 people living in townships and on bush properties in the green wedge.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, greensborough, nillumbik shire council offices, civic drive

Wingrove Cottage built 1858-1859 of hand made bricks is historically significant for its long association with Charles Wingrove, a prominent figure in Victorian local government, as secretary to the Eltham District Road Board and Shire Council from 1858 to 1904, and Shire Engineer and Secretary to the Heidelberg Road Board. The cottage was used as the office of the Eltham District Road Board and Council for many years It is one of the Shire's oldest dwellings, and one of the few surviving 19th century buildings associated with early Eltham and located in the original Eltham Village Reserve. The symmetrical planting of a pair of Pencil Pines (not visible in photo) is also historically and aesthetically significant as characteristic of the early period of planting in the district and because they are a distinctive landscape feature. In October 2002 new owners demolished the outbuildings attached to the rear of the cottage. Community protest at the demolition resulted in Council issuing a Stop Work order. The owner was issued with a court order in September 2003 to develop a conservation management plan and restore the heritage listed property. The owner sold the property in 2005 to Cameron Construction in 2005 who undertook the restoration work. In 2007 a planning application to build two offices and seven dwellings at the rear of the property was ultimately rejected. The cottage is now the main office for Cameron Construction. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p57 Wingrove Cottage on Main Road beside Eltham Primary School, is one of the Shire’s most important historical buildings and was central to local government for almost 50 years. The cottage was built in stages from 1858 to 1888 for Charles Symons Wingrove JP. He was the Eltham District Road Board’s first paid secretary and later the Shire Secretary when the board became the Eltham Shire Council. Wingrove held those positions, and that of engineer for a time, for 46 years. He was also one of the main figures in the Municipal Association of Victoria. As Eltham’s first paid municipal officer, Wingrove used one room in his 11 – (originally two) roomed home, as the office for the board then the council. Meetings were held there from the late 1850s (as well as at more central locations) until Wingrove’s retirement in 1904. The cottage is a rare example of a local government office occupying a Road Board /Shire Secretary’s purpose-designed house. The cottage is also significant because it is the oldest largely intact building from the original Eltham township reserve (south of Dalton Street).1 The township had its origins in the 1848 Nillumbik Parish Plan and was one of the state’s earliest township reserves. The rectangular house of handmade bricks, roofed with grey slate tiles and with a veranda encompassing three sides, is reminiscent of those in the central goldfields including Castlemaine. Its overhanging eaves and gables were unlike houses in Melbourne at the time. Wingrove, who was born in 1827, had been a gold digger and a road surveyor. Impossible to imagine in today’s world, Wingrove was also the Shire of Heidelberg’s secretary and engineer for part of the time that he was secretary in Eltham. Living next door to the primary school was a mixed blessing. Wingrove and his wife Katherine, who had ten children, sent their eight surviving children to the school. But they had occasional disputes with the school authorities when their cattle wandered into the schoolyard. Eltham showed Charles Wingrove its appreciation of his services by giving him two illuminated addresses, one after ten years and the other at retirement. Wingrove died in 1905 aged 76 and was buried in the St Katherine’s Church of England cemetery in St Helena. His grave is surrounded by those of family members including his wife, Katherine and two babies, Henry, 12 months and Isobella, 15 months, who died in the mid-1860s. Cottage ownership passed to his wife, then to daughter Caroline and then to daughter Bessie, a Melbourne University graduate and artist. During the Great Depression their brother Walter was the ratepayer. At one stage the Wingrove property extended to Metery Road and included a small creek. The family ran a small dairy and orchard, with associated farm buildings, which were later removed. In 1949 part of the property was compulsorily acquired by the Eltham Primary School, which infuriated owner Bessie Wingrove. She protested in a letter about this ‘monstrous act of unmitigated tyranny’.2 She was the last Wingrove to occupy the cottage and died in 1955. Wingrove descendants sold the house in 1974 and the property was subdivided. In the 1960s the Eltham Shire named the park opposite the cottage in Wingrove’s honour. The cottage has since had several owners including psychiatrist Dr Daniel Kahans, who practised there. In October 2002 late rear additions which had been substantially altered were demolished contrary to council planning controls. This caused a community outcry and resulted in legal proceedings against the owner. Fortunately the historical significance of the demolished section was not as great as the older front part of the building, which has been retained and was later restored.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, cameron construction, charles symons wingrove, eltham, eltham road district board, eltham shire council, main road, wingrove cottage

This building is the earliest building remaining on site today. It was built in 1875 and was the second school building replacing the original 1856 building of stone walls with wooden shingles on the roof. That building needed to be replaced after the stone walls collapsed outwards. In August 1912 the school issued a requisition for remodelling of the school concerned with replacement of the existing windows with larger and wider windows to allow additional light into the school rooms and the erection of a wooden partition in the centre of the room. An extension to the building at rear and skylights in the roof were added in 1921. Only two low wooden stairs were originally provided to enter the porch. These were rebuilt by 1928. A steel mud grate was introduced 1930s/1940s and an infant shelter shed circa 1945. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p49 Eltham Primary School at Dalton Street, bustling with hundreds of students, has changed dramatically since it began in July 1855.1 A reminder of its early days is the building in local sandstone with a slate roof. First head teacher was David G Clark who was officially in charge from June 1856 until 1889.2 This school was not the settlement’s first. That was the Church of England Little Eltham School, west of Diamond Creek in 1853 and closed in 1872. In 1855 David Clark and his sister Catherine, opened what was to become the present school, with eight students. The school operated elsewhere in a temporary slab building, also used for worship by the Wesleyans,3 which allowed the wind and rain easy access. As well as having to endure such Spartan conditions, the students paid one penny a week for the privilege. But in June 1856 the patrons objected to the conditions, and they and the Clarks wrote to the National Schools Board, asking for a suitable school. They asked for a grant to buy land for a school, and to appoint the Clarks. As a result, inspector Mr A B Orlebar visited the school. He found 33 children aged from four to 13 and noted, among other things: ‘There is no attempt at classification, and this is owing chiefly to the want of books, every child bringing with it any spelling or reading book he or she may find at home,4 and partly to the master and mistress having little idea of anything but individual instruction.’ Of Mr Clark, Mr Orlebar said: ‘I cannot pass him as coming up to the full standard of a probationer. He promises however to pursue a course….if the commissioners take him into their service.’ Of Catherine: ‘She makes a promise similar to that of her brother. Pupils were orderly and the school seemed well conducted. I cannot therefore hesitate to recommend them both personally as probationers.’ Later at a public meeting, Mr Orlebar pledged the commissioners would give £150 for a school, if this was matched by local residents. The meeting decided the commissioners would acquire two acres (0.8ha) for the school site. The building, constructed with local sandstone, was completed in December 1857, measuring 40 feet x 16 feet (12mx5m) and 10 feet (3m) high. It was divided into two rooms – one for the school and the other for teacher accommodation. So the Eltham school was born, in an area regarded as ‘one of the poorest in the colony’. Excerpts from inspectors’ reports in the following years, show that in some ways school has not changed that much since then: ‘Discipline only moderate. Too much chattering!’ (1873); ‘Several slates were cleaned with saliva applied by the hand! Damp rags would be much nicer.’(1891).5 In 1863 the Board of Education took over the school giving it its current name and number, Eltham Primary School No 209. Overcrowding has dogged the school over much of its history. In 1875 overcrowding spilled part of the school into the local courthouse. But that year the sandstone building, which is still standing, was built for 100 children, costing £553 and replacing the National School building. Now, this section, even following renovations, still bears part of its original graciousness, with lofty timber ceilings, tall vertical windows and original floors.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, dalton street, eltham primary school, state school no. 209

Built in 1891 for Head Teacher John Brown. His predecessor and the school's first Head Teacher, John Clark, lived in his own house 'Shoestring' in Metery Road, adjacent to the school. At the time of this photograph, the building was being used for before and after school care. Its present-day (2023) use is for school administration offices. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p49 The former head teacher’s residence on 690 Main Road, was built in 1891 for the head teacher, John Brown. His predecessor David Clark lived in his own house known as Shoestring at Metery Road, possibly built in the late 1850s. With the school, Wingrove and Jarrold Cottages, it makes up the original Eltham township south of Dalton Street’s only group of 19th century buildings. The two Monterey Pines were popular vegetation in the late 19th and early 20th centuriesThis 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, dalton street, eltham, eltham primary school, headmaster's residence, main road, state school no. 209

Built by William Ellis in 1865 of local uncut stone about 30cm thick, the cottage is now a museum and home to the Nillumbik Historical Society. Ellis Cottage is historically significant for its association with the Ellis family, who were pioneers of the Diamond Creek district and the benefactors of the notable Nillumbik Cemetery gateway. It illustrates the development of farming in the area. Ellis Cottage is historically and technically significant for its rare use of uncut local stone for building purposes. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Estate Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p79 Ellis Cottage, built by William Ellis, is a memorial to the courage of pioneers in the Diamond Valley area.1 Now a museum and home to the Nillumbik Historical Society, it is a fine example of an early settler’s house in Diamond Creek – and one of the few original buildings standing from the middle of the 19th century. It is a poor man’s cottage – typical of the dwellings of those who had to work hard to wrest a living in this district, because most of the land was not fertile enough for major forms of farming. The pretty stone cottage at 10 Nillumbik Square, built in 1865, is made of local uncut stone about one foot (30 cm) thick. It once stood near the centre of the 147 acres (59.4ha) Ellis bought in 1850. The property extended from Diamond Creek to Reynolds Road and from Perversi Avenue to the Wattle Glen School. It stood in the electoral parish of Nillumbik. The Nillumbik township (later called Diamond Creek) was not created until 1867. In 1912 the property was cut in half by the new railway to Hurstbridge. Ellis paid £147/10/- for the land - about three times what a Victorian farmer would usually earn in a year. Despite the poor quality soil Ellis became a very successful farmer with an orchard, vegetables and a dairy herd. Five years later, in 1855, Ellis bought 70 acres (28.3ha) from neighbour, Hugh Larimour. In 1857 Ellis bought 208 acres (84ha) at Yarra Glen. In 1877 he bought 122 acres (49.3ha) at Diamond Creek and later bought land at Greensborough and Woodstock. Ellis was born in 1815 at Blackawton, a small Devonshire village, and became a tenant farmer. It is not known why Ellis came out to Australia or settled in Diamond Creek. In 1847 he married Margaret Child at the Melbourne Presbyterian Church. Ellis and Child had no children and 18 years after the wedding, while probably living in Kangaroo Ground, Ellis built this small cottage. The simple cottage has a central hall and two rooms on each side. To maximise the small space the ceiling cavity was designed large enough to provide sleeping accommodation accessed via a ladder. Each room was heated by an open fireplace and the one in the kitchen was large enough to roast a sheep. A large cellar under the front room probably stored farm produce. Water came from a well as reticulated water did not arrive at Diamond Creek until 1914. In 1870 Ellis’ 22 year-old nephew Nathaniel joined him from England.2 Until 1890 they developed Ellis Park, praised in The Evelyn Observer, May 30,1890 as a model farm. Ellis had become wealthy, and on his death in 1896 his estate was valued at £9000. In his will he left £100 to construct memorial gates at the Nillumbik Cemetery where he was buried.3 Ellis left the farm to his second wife Louisa. As he had no children, upon her death the farm passed to Nathaniel, but he did not take it up. The farm was sold and leased several times until 1967, when engineer Phillip Lovitt bought the property and carried out major structural works. The Shire of Diamond Valley bought it in the 1980s and in 1989 restored it with the Nillumbik Historical Society. The stone walls of the cottage had been plastered with mud and straw mortar, which were removed as they were riddled with vermin. Doors, windows and a floor were replaced and the original roof of timber shingles had been replaced with slate. The well was too deeply cracked to be restored, so was used for a flower bed. Two mature Italian Cypresses at the entry are also heritage protected as they relate to similar trees planted at Shillinglaw Cottage and other early buildings in Nillumbik Shire.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, ellis cottage, diamond creek, nillumbik historical society, william ellis

Built in 1878, the orange polychromatic brick structure replaced a slab building which had been used since 1951. The building has changed little with its handsome bricks buttressed on both sides, a slate roof and a Celtic cross on top of the front gable. The carved wooden pulpit and 18 pews are original. The cathedral-style ceiling is fully lined with tongue-and-groove pine boards and the floor is also pine. The walls have arched oblong leadlight windows. In 1977 the congregaton decided not to join the Uniting Church, whcih amalgamated some Presbyterian churches with all the Methodist and Congregational churches in Australia. Together with the store and school, the church is one of Kangaroo Ground's three public buildings. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p91 The small Presbyterian church in Main Road, Kangaroo Ground, has been a spiritual centre for more than a century. Built in 1878, the orange polychromatic brick structure replaced a rude slab building, which had been used as both a church and school since 1851. Earliest settlers, who were Scottish farmers, had worshipped together since 1841 in a barn owned by farmer James Donaldson and led by a layman called Smith.1 However, from 1843, the Reverend Peter Gunn conducted church services. Prominent early church members include the Donaldson, Bell and Cameron families. In 1851, Samuel Furphy (father of author Joseph) built their first church building, a 30 feet x 18 feet (9m x 5.5m) slab structure on half an acre (0.2ha) donated by Mr Donaldson. Conditions could be very uncomfortable in extreme weather.The green slabs of timber and sapling logs, covered partly with mud, had centimetre-wide cracks, allowing rain and wind through, when not blocked out by folds of paper.2 However this did not deter the first couple marrying there in 1857: John Wilson of Nillumbik and Christina Macpherson of Christmas Hills. The Reverend Peter Gunn seldom visited so it was usually left to Andrew Ross, the settlement’s first teacher and founder of the newspaper The Evelyn Observer, to lead the divine services instead.3 In 1877 the settlers raised £355/19/- and hired architect, Charles Maplestone and builder, Mr Self, to construct today’s church building. Each family rented a pew or pews for ten shillings a half-year; they also paid quarterly subscriptions for the minister’s stipend.4 It was not until 1886 that the church celebrated its first wedding, that of John Bell (junior) from Violet Bank and Elizabeth Charlton of Cunis Nillen. The Sunday School’s first recorded meeting was also held that year. In 1892 a weatherboard vestry was built, and the following year John Bell donated a church bell, which the fire brigade used as a warning for several years. Conditions have varied greatly during the century. In 1893 the Reverend Darroch had to travel more than 2000 miles (3220km) to attend to his scattered parishioners. Then in the Depression, the minister Mr Brown, subsisted only on lodgings with no stipend. The Sunday School ceased for many years because of the small population, but reopened in 1949. The building has changed little with its handmade bricks buttressed on both long sides, a slate roof and a Celtic cross on top of the front gable. The carved wooden pulpit and 18 pews are original and in fine condition. The cathedral-style ceiling is fully lined with tongue-and-groove pine boards and the floor is also of pine. The walls have arched oblong leadlight windows. One window has stained glass commemorating Mrs Jessie Agnes Cameron and her ancestors – the pioneering Bell family. It depicts The Sower because the family comprised farmers who came to a strange land to sow the seeds of their faith as much as their crops. Thistles signify their Scottish ancestry and the pigeons are a symbol of Pigeon Bank, the Kangaroo Ground farming property where Jessie Cameron was born.5 Other historical ties are seen on two marble memorial tablets and carved wooden chairs dedicated to former members. The Church still has the original Bible with gold edged paper, presented by the women of the congregation in 1871, although it is no longer used. In 1977 the Presbyterian congregation decided not to join the Uniting Church, which amalgamated some Presbyterian churches with all the Methodist and Congregational churches in Australia. Together with the store and school, the church is one of Kangaroo Ground’s three public buildings.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, kangaroo ground presbyterian church

Strathewen Public Hall, social and spiritual centre was later lost in the Black Saturday fires 2009. The Strathewen Community decided a community hall was needed in 1901. In 1902 locals built the hall with messmate trees. It was located on the Cottlesbridge-Strathewen Road. The first function was a Grand concert and Balll attended by about 120 people. Several denominations held Church services and Sunday School services in the Hall. It survived several bushfires until after this photo was taken when it was destroyed in Black Saturday, 9 February 2009. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p89 Strathewen was settled late, largely because it was difficult to access.1 Early selectors found it a struggle to survive. They had to do everything themselves, from felling trees for buildings, to taking produce to market along bush tracks that they had helped cut. Small dairy farms were typical but fruit became the district’s prime produce. The first settlers east of Arthurs Creek were brothers John and Duncan Smith whose station Glen-Ard was probably operated as a sheep run. Other early settlers were the Mann family, who were to donate land for the hall, provide postal services and John Mann was an Eltham Shire councillor from 1916 to 1919.2 In 1873 James Mann, his wife Jane and their six children, settled on 207 acres (83.7) (Lang Fauld Farm) on both sides of Eagles Nest Road, from the foot of Mount Sugarloaf to the bank of the Arthurs Creek. In 1883 James took up another selection on Chads Creek. It was very hard work and at times he was well behind with his rent. However the family had a good social life, attending the Primitive Methodist Church at the Arthurs Creek Township and on New Year’s Eve throwing a party for all the locals. By 1874 James Mann’s younger brother, John, selected 311 acres (125.8ha) between Eagles Nest Road and upper Arthurs Creek. He called it Carseburn after his home parish in Scotland. Tragically in 1875 John drowned in the Yarra River, at Richmond.3 John Mann’s oldest son, also John, later purchased Duncan Smith’s land, which he named Violet Glen. He was to give one acre (0.4ha) of this land for the Strathewen Hall site. A Mann family diary written at Carseburn in 1897, tells how the district’s name was selected. Strathewen is derived from ‘strath’ meaning ‘broad mountain valley’ and from the name of Ewen H. Cameron, the local parliamentarian for almost 40 years. ‘George Brain came around to get a petition signed to get a post office up here and we had to vote for a name—Strathewen, Glen-Ard, or Headcorie’.4 It was at Carseburn that a public meeting in 1901, decided to build the Strathewen Hall on the Cottlesbridge-Strathewen Road. In 1902 the locals built the hall with messmate trees. The first function was a Grand Concert and Ball attended by around 120 people and several Protestant denominations took turns to hold church services and Sunday School there. Fortunately the hall has survived bushfires to be the town’s spiritual and social centre.5 The area continued to develop and in 1909 a post office operated somewhere at Strathewen and from around 1916 at Carseburn.6 It was not until 1914 that land was bought to establish the Strathewen State School on School Ridge Road. The residents paid £100 to build it on two acres (0.8 ha) while the Education Department contributed £30 and leased the building annually for £1. When teacher Miss Mary Golding opened the school in 1917, it had no equipment.7 But in 1921 the Education Department provided desks and a hexagonal shelter shed (now a rare style in Victoria) and took control in 1925.8 By 1917 Strathewen was booming.9 George Apted had built a coolstore in 1916, and local orchardists bought storage space until the 1950s. This allowed the area to supply the market in and out of season. Guesthouses catered for growing tourism. In the mid 1920s Mrs Eleanor Sparkes built the guest-house Singing Waters, which operated through the 1930s. Her daughter Mrs Vera McKimmie, ran it until the 1950s and the house remains in Chads Creek Road. In the Great Depression land was cleared for timber to be sold as firewood and there was small scale sawmilling. However the orchard industry diminished for several reasons including the 1939 bushfires and rapid changes in production methods. Today the Apteds still operate an orchard and farm at Glen-Ard, which straddles the border between Strathewen and Arthurs Creek. It includes the southern part of Duncan Smith’s original Glen-Ard selection.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, strathewan public hall

This tiny picturesque building near the corner of John Street has served the community since 1878. At that time it served as an agency of the Heidelberg branch of the Commonwelath Bank of Australia. It has a small space inside measuring about 3.6 metres by 4.5 metres. It was built by George Stebbing who was also responsible for other heritage buildings nearby in Eltham. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p93 The tiny picturesque building on Main Road, Eltham, near the corner of John Street, has served the community since 1878. At that time the building, which inside measures only about 3.6m by 4.5m served as an agency of the Heidelberg branch of the Commercial Bank of Australia. The yellow and orange Victorian brick structure was built by Mr George Stebbing.1 Mr Stebbing, who also built the Anglican and former Methodist churches and the Shillinglaw Cottage, had come from England and lived in Pitt Street. The bank is a fine example of a once common but now rare building style – the single room bank. It compares with another in the municipality, also a former Commercial Bank of Australia branch, the timber Little Bank Building in Hurstbridge, built around the early 1900s.2 The Eltham bank, which was said to store gold from the Eltham - Research mining areas, has had exciting moments. A bullet hole still visible in a cedar bench testifies to the drama in 1949 when a youth held up the bank. After the 19-year-old opened an account as John Henderson, he walked to the door and then turned pointing a pistol. But it was shots fired by the clerk, Lindsay Spear, that saved the day, frightening the youth, who drove off empty-handed in a grey sports car. He was later apprehended and given a two-year sentence. Soon afterwards the agency was upgraded to a branch. However by 1954 the bank no longer needed the branch and the adjoining Methodist Church bought the building. It proved useful for the Church’s young people who furnished it and used it for their meetings. A youth club developed, led by young adult member, Ross Gangell. The building was also used as a Sunday School, which with junior membership numbered 27.3 Around 1960, Mrs Alma Bell, of the Methodist Church Women’s Guild, suggested using the building as an opportunity shop to raise funds for a chaplain at the Eltham High School. The women later asked the nearby St Margaret’s Anglican Church to help them in the shop. In 1960 the Eltham Combined Churches Opportunity Shop was established and staffed by Methodist and Anglican parishioners, notably Methodist Mrs Gwen Miller. The shop originally opened on Child Endowment Days to help the needy, but later for years, it opened twice a week. In 1962 it donated clothing and shoes to the Eltham Bushfire Appeal. By 1963 the chaplaincy scheme ceased. So the £450 raised was then donated to the Council for Christian Education and to the participating churches. Funds were also donated to local charities including the Eltham and Research Fire Brigades, the Austin Hospital Auxiliary, the Benevolent Society, the Red Cross and the Diamond Valley Hospital.4 In 2008 the Opportunity Shop volunteers continue to work together to help the local community. Although crammed with second-hand goods, the simple, almost stark interior, is still evident and is relieved only by a front rectangular window and an unused fireplace. Outside, the chimney, the corrugated iron peaked roof, and the surrounding varied plants, add to the charm of this sound building which continues to serve the community well.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, cba bank

Situated at the eastern end of York Street, Eltham, 'Shinrone', the former home of Professor William (Mac) MacMahon Ball was one of the first in the Shire of Eltham to incorporate mud-brick. Professor MacMahon Ball, a political scientist, writer, broadcaster and diplomat and family moved to York Street, Eltham in 1945 into a timber cottage built around the 1890s and in poor repair. Mac asked Alistair Knox to renovate the home and he expanded the living area and added verandahs. In 1948 Montsalvat artist and sculptor Sonia Skipper supervised the building of most of the mud-brick studio. Neighbour Gordon Ford made the mud-bricks. Mac also asked John Harcourt, who had worked with him as a journalist in shortwave broadcasting, to build a pise (rammed earth) and stone addition to the largely timber house. Harcourt built two bedrooms - including an attic bedroom - a balcony with a shower and toilet, a nd a fireplace and chimney of local stone. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p141 At the eastern tip of York Street, Eltham, stands Shinrone, the former home of one of Australia’s intellectual leaders. Professor William Macmahon Ball, was one of the first to bring Asia as a foreign policy issue to the Australian public.1 He was a political scientist, writer, broadcaster and diplomat. The house was one of the first in Eltham Shire to incorporate mud-brick,2 because of the acute shortage of building materials after World War Two. Its novice builders later become leaders in Eltham’s built and garden design. Mac (as he was usually called), who was the son of a Church of England minister, was born in Casterton, Victoria in 1901 and died in 1986. In 1945 he helped establish the United Nations, as political consultant to the Australian Delegation at the San Francisco Conference.3 Then in 1946 Mac was appointed British Commonwealth Representative on the Allied Council for Japan, which is recorded in detail in his diary.4 In 1948 Mac led an Australian Government Goodwill Mission to South East Asia. However, Mac was perhaps most successful as an academic and public speaker.5 He was a commentator on the Australian Broadcasting Commission, from the early 1930s to the early 1960s. He was also Controller of the Short-Wave Broadcasting Unit during World War Two, which later became Radio Australia. From 1923 he taught at The University of Melbourne, then became foundation Professor of Political Science in 1949 and was Chair until his retirement in 1968.6 In 1942, as the government expected a Japanese invasion, Mac’s wife Katrine and their only child Jenny, moved from Kew to Eltham as temporary evacuees. However Mac and Katrine lived in Eltham for almost the rest of their lives. After staying with friends, they rented a house in Reynolds Road, where, as it was wartime, they needed to keep horses for transport and a cow and poultry for milk and eggs. In 1945 the family moved to the house at York Street, which was then a timber cottage, built around the 1890s and in poor repair. The underground well, cellar and part of the garden are all that remain of what stood on the original 18 acre (7.3ha) allotment. Thanks largely to Katrine’s hard work, the house was gradually renovated and extended. The long rambling house was partially built by several young neighbours, who were inspired by the cheap mud-brick and stone building style of Montsalvat, the Eltham artists’ colony. Mac asked Alistair Knox to renovate Shinrone, named after an Irish village near Katrine’s family home. Knox later popularised the mud-brick style of house construction, for which Eltham became known. He expanded the living area and added verandas. In 1948 Montsalvat artist and sculptor Sonia Skipper supervised the building of most of the mud-brick studio. Another neighbour, Gordon Ford, who was to have a major influence on the Australian garden style, made the mud-bricks. Mac also asked John Harcourt, who had worked with him as a journalist in short-wave broadcasting, to build a pisé (rammed earth) and stone addition to the largely timber house. Harcourt built two bedrooms – including an attic bedroom – a balcony with a shower and toilet, and a fireplace and chimney of local sandstone. With pioneering work naturally came mistakes, including one particularly dramatic incident when Harcourt was building walls with unsupported sections. Jenny Ellis, Mac’s daughter, remembers being awakened from sleep by a thundering shudder. The wall of her room had fallen down – fortunately away from her! In 1950 artist Peter Glass – another neighbour and later landscape designer – built Katrine a mud-brick pottery. As a result, the house features at one end Harcourt’s characteristic steep gable roof, while at the other the flatter construction characteristic of Knox. Mac referred to the home as the Eltham ‘experimental building site’.7 Surprisingly, the combination works, perhaps partly because it has the warm inviting feel of timber, mud-brick and stone.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, alistair knox, gordon ford, john harcourt, mudbrick construction, pise construction, professor macmahon ball, shinrone, sonia skipper, york street

Situated in King Street, Eltham, Alistair Knox built his home and office in 1962-1963 with mud-bricks made from the local soil and recycled materials blending the house with bush around it. Knox popularised the Eltham earth building movement, begun by Montsalvat founder, Justus Jorgensen. Alistair Knox (1912-1986) was also an Eltham Shire Councillor 1971-1975 and Shire President in 1975. Knox established the inaugural Eltham Community Festival in 1975. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p145 Lack of money was a strong incentive for Alistair Knox to do what he did best when he built his house and office at King Street, Eltham in 1962-63. He used mud-bricks from local soil and recycled materials, characteristically blending the house with the bush around it. The result was a work of art. Knox popularised the Eltham earth building movement,1 begun by Montsalvat founder Justus Jörgensen. He was also an Eltham Shire Councillor from 1971 to 1975 and Shire President in 1975. For Knox mud-brick building was not just a building style, but a spiritual experience and a way of relating with nature. At 40 he rediscovered God and his building reflected his theological, political, philosophical and particularly environmental world view, which was far ahead of its time.2 He also contributed to building development in his use of concrete slab foundations when stumps and bearers were the norm. Knox was introduced to mud-brick construction in 1940 by Jörgensen, then shortly after, Knox joined the Navy. In 1946 Knox studied Building Practice and Theory at Melbourne Technical College (now RMIT University). There he befriended fellow student and artist Matcham Skipper who belonged to what was then called the Jörgensen Artists’ Colony. Knox decided to build an earth building in Eltham, partly because the post-war huge building demands resulted in expensive and scarce building materials. He asked artist Sonia Skipper for help who, with Matcham, had constructed mud-brick buildings at the Artists’ Colony. The simple rectangular low-lying house at King Street is framed by native plants and a 3.6 metres wide pergola surrounds the building. Wedded to the landscape, a door in every room at the perimeter, opens outside. The property also includes a forge, a small hut built by son Macgregor at 15, and a mud-brick tower for chickens. Building materials were foraged from a wide variety of sources. Some of the joinery material came from old whisky vats. When the Oregon of the highest quality ‘was put through the wood-working machines, it gave off a deep smell of whisky that made the whole atmosphere exotic and heady’.3 Amateur builders, including schoolboys from Knox’s Presbyterian Church, made some of the mud-bricks. But the building was finished with the professional help of Yorkshire builder, Eric Hirst. Inside, the light is subdued with the mud-brick, beamed timber ceilings and floors of slate, timber or orange-brown tiles. Skylights, with rich blue and red leadlighting, illuminate one entrance area and this feature is repeated as edging on the door. The centre of the house is like a covered courtyard, with rooms built around it. The central room, 11 metres x 7 metres, was built in the same proportions as Knox’s mud-bricks. Clerestory windows on four sides infuse the room with a soft light. A huge brick fireplace extends beyond one corner and opposite is a small one where timber can only be placed vertically. The slate for the floor was discarded from the Malthouse Brewery now used as a theatre in Southbank. In the middle is a large refectory table and benches that seat 18. Like much of the house, it is rugged, yet beautiful. Made of Western Australian Jarrah by Macgregor with a chain saw and an adze, it retains knot and nail holes. Each wall has an opening, 2.4 metres at the ends and 3.6 metres at the sides. Only one has doors and these concertina doors are made of the backs of old church pews. The main bedroom has an ensuite with a marble hand basin discarded from the Victorian Parliament building; and a dressing room, where two wardrobes of polished timber recovered from a tip are attached to the walls. Separate from the house is the strikingly original circular-shaped office made of bluestone sourced from the original Army campsite at Broadmeadows.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, alistair and margot knox house, alistair knox design, mudbrick construction, eltham, king street

Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.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, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.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, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road