A photo of Legatee George Knocks from his time in the Royal Navy. George Knocks was born in the UK and joined the Royal Navy in World War 1. He later migrated to Australia and joined Legacy in 1929 until his death in 1945, he left a significant bequest to Melbourne Legacy which was used to help many people. Information from a press release in 1975 relates the story of George Knocks who joined Legacy and left a bequest that made a difference. The information was intended to be used by press and magazines etc. A longer version of the story is in the Weekly Bulletin - 29 Sept 1964 and this document prepared by Legatee Armstrong in 1965 called One Man's Legacy. Summary: George was described as a lonely ex-seaman who migrated to Australia after the first world war. He learnt about Legacy and the work with widows and children. 'He joined up as a Legatee and from that day, the pattern of life changed greatly for George. He became absorbed in his new environment and spent most of his time with the children. The mothers founding him a rugged, but completely trustworthy friend.' When George died on 14 April 1945 he was mourned by many Legacy friends. His left his property to four comrades, as trustees to use in continuing Legacy's work, this bequest became the George Knocks Fund. As a result, a great many people in Legacy's care were helped, in all sorts of ways.A record of the life of a legatee.White foolscap paper x 6 pages with black type of the story of George Knocks Fund, stapled together and edge bound with green tape, dated 30 June 1965.Handwritten on cover 'Box 3' in blue pen, 'B4 George Knocks Fund' in red pen and '1945' in pencil. Final page is signed 'JHB Armstrong' in blue ink.george knocks, fund, bequests

The Australian Secondary Schools Snowsports Team Championship (ASSSTC) began in 1967 and has run every year since. The Championship originated from an idea instigated by Tom Mitchell, an Australian Winter Olympian, Member of the Victorian Parliament and pioneer of Australian skiing. The competition gives participants a unique opportunity to perform in a team environment where skills in the various disciplines of alpine, cross country and snowboard are required. This championship is unique as there are no individual winners, but each participant contributes points to the team result. The maximum size of any team is 16, made up of alpine skiers, cross country skiers and snowboarders. To score the most points, the majority of team members need to compete in at least two disciplines, with only a handful being able to specialise in any one discipline. The disciplines include Grand Slalom, Ski-X, Snowboard-X and Cross-Country Classic technique and the Freestyle Relay events. Students needing to compete in their non-preferred discipline means that the pressure is off competitors to enter only if they are highly talented. The event is usually a four day carnival that welcomes Professional Race Training with Falls Creek Ski School Trainers on the Tuesday, Skier Cross and Boarder Cross events on Wednesday, Giant Slalom Events for Skiers and Snowboarders on the Thursday and Cross Country events held on the Friday. The carnival concludes on the Friday, with a luncheon and presentations.This vest is significant because it represents an important School Skiing Competition which fosters and supports the development of skiing and snowboarding in Australia.A sleeveless navy blue vest with silk textile lining. The vest has two zip pockets and a front zip closure. Cloth badges representing A.S.S.S.S.T.C championships have been hand-stitched on to the front of the vest in a vertical row. A badge representing the maker is at the lower left hem.A.S.S.S.S.T.C badges for 1979, 1980 and 1981.australian secondary schools snowsports team championship, school skiing competitions

CITATION TO ACCOMPANY THE AWARD OF THE DISTINGUISHED FLYING CROSS (First Oak Leaf Cluster) Squadron leader Alan R Reed distinguished himself by extraordinary achievement while participating in aerial flight as and RD-4C Aircraft Commander in Southeast Asia on 24 August 1968. On that date, he flew his aircraft repeatedly through intense hostile ground fire to obtain complete photographic coverage of the target. In addition, he voluntarily remained in that hostile environment for as long as fuel would allow, to act as a spotter and to pass firing corrections to friendly artillery. The professional competence, aerial skill, and devotion to duty displayed by Squadron Leader Reed reflect great credit upon himself and the United States Air Force. Squadron Leader Alan Reed from the Royal Australian Air Force 052363 served in Vietnam from 26 May 1968 until 20 November 1968. He spent most of his tour detached to the 12th Tactical Reconnaissance Squadron, US Air Force. He was made an Officer of the Order of Australia (AO) in June 1989 for his service to the RAAF as Air Officer Commanding, Support Command. For his service with the USAF, Alan Reed was awarded the United States Distinguished Flying Cross with oak leaf cluster. His final rank with the Air Force was Air Vice Marshal and his last posting was with Headquarters, Australian Force Vietnam (RAAF Element) Black and White photo in black and white frame of SQN LDR Alan Reed receiving a citation to accompany Distinguished Flying Cross 21 /08 /1968. with supporting info.photograph, alan reed, squadron leader alan reed, royal australian air force, raaf, 052363, 12th tactical reconnaissance squadron, united states air force, usaf, officer of the order of australia, air vice marshall allan reed, headquarters, australian force vietnam

Section 1. Notes on the use of this resource Section 2. Policy support statements. Aboriginal Studies Policy Statement of Victorian Aboriginal Education Association Incorporated (VAEAI) National Principles and Guidelines for Aboriginal Studies and Torres Strait Islander Studies, K-12 Principles for the Introduction of Aboriginal Perspectives in the Curriculum of the Catholic School (Catholic Education Commission of Victoria Policy 1.3, 1987) Section 3. Language, culture and viewpoint: issues of terminology Section 4. Units of work Unit 1. Koorie people of south-east Australia: a contemporary view Unit 2. On sacred ground Unit 3. Koorie life in the pre-contact era Unit 4. Mulla Meea-Baa Gnuenjall: a long time ago, and today Unit 5. The land we share: human stories in the environment Unit 6. Frontier wars Unit 7. Aboriginal mission stations and reserves in Victoria Unit 8. Land, law and indigenous Australians Section 5. Directory of indigenous organisations and affiliated groups/?agencies. National organisations Victorian organisations Catholic Education Commission of Victoria Indigenous Education personnel Organisations within regions of the Archdiocese of Melbourne Organisations within regions of the Ballarat Diocese Organisations within regions of the Sale Diocese Organisations within regions of the Sandhurst Diocese Cultural centres/?camps across Victoria.maps, b&w photographsvaeai, history, curriculum development, koorie studies, catholic education commission of victoria, secondary school education,

Edendale Farm is Nillumbik Shire Council's environment centre situated in Gastons Road, Eltham between the railway and the Diamond Creek. The homestead on the property was built in 1896 and is of historical significance, being the subject of a Heritage Overlay under the Nillumbik Planning Scheme. The Edendale property was originally part of an extensive land purchase in 1852 from the Crown by pioneer Eltham farmer Henry Stooke. He initially purchased 51 acres and later expanded his holdings by purchasing another three adjacent Crown allotments extending northerly from Josiah Holloway's Little Eltham subdivision. Despite clearing the land, Stooke did not build on this property, choosing to live on his property "Rosehill" at Lower Plenty. In 1896 Thomas Cool, Club Manager of the Victoria Coffee Palace in Melbourne purchased 7 acres of the original Stooke land and built the house now known as Edendale. Cool did not farm the land, instead using it as a gentleman’s residence, retiring to Eltham at weekends. In 1918 he purchased an additional 7 acres but in 1919 he sold the property. Later owners included J.W. Cox, the Gaston family and D. Mummery. In the 1980s the Eltham Shire Council purchased the site for use as a Council depot, but this use did not proceed. Subsequently, it was used as the Council pound. The Edendale Farm Pet Education and Retention Centre was established in the summer of 1988/1989 and was set up to replace the existing dog kennels with a high standard pet retention centre. The design style of the building was established to compliment the features of the existing house. It was equipped with 10 retention pens, a veterinary room and a pet education area where school children and other interested parties learnt about pet care procedures. It was later developed into a community farm and was run by an advisory committee and in 2000 it became an Environment Centre. In early 2006 an advisory committee was established for the development of a master plan for future development at Edendale Farm. The committee included Russell Yeoman, a former long-time shire planner and founding member of the Eltham District Historical Society. At the time of filming the Master Plan and future for Edendale was about continuing to develop Edendale as a centre of environment learning and looking at expanding displays and school program, running a lot more of life-long learning and workshops around sustainable living. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p101 A sharp turn from busy Wattletree Road by the railway line, brings a surprise. Only 1.4 km from Eltham’s centre, sheep feed, blissfully unaware of the hectic suburban activity so close by. At the entrance to the 5.6ha Edendale Farm is another surprise. A work of art that looks like huge tree trunks transformed into bowler and top-hatted men. The Fences Act 1968 by Tony Trembath with Mark Cain and John Doyle, 1996, is classified by the National Trust of Australia as having Regional Significance. The title refers to a government act on disputes between neighbors over the placement of fences and boundaries. This takes a ‘wry swipe’ at a community divided by trivial squabbles. It also celebrates making do with limited resources.1 Further along on the left, the office wall is decorated with a massive Eltham Copper Butterfly, designed by Robert Tickner and made by school children with used plastic bottles and other waste material. Nillumbik Council runs Edendale as an Environmental Education Centre, to help preserve and enhance the local environment. As early as 1988 the former Eltham Shire Council realised Edendale’s importance in meeting people’s needs, particularly of children, to enjoy farmland. The centre, with the Eltham North Reserve to the north - including remnant bushland and open parkland - makes up the major part of the public open space for this area. The council considers this area will become increasingly important to the local community for recreational use.2 Educational programs aim to encourage community involvement to ensure the long-term rehabilitation and protection of natural bushland areas. Edendale is used by people of all ages - from school children to adults - for environmental programs and workshops, as well as for recreation, to enjoy the domestic animals and to picnic. Edendale is also home to the Environmental Works staff who manage reserves and roadsides and support Nillumbik Friends environmental groups. The Friends propagate plants at the nursery, which grows indigenous plants and sells these to the public.3 The centre demonstrates the sustainable living the farm teaches, with features like solar hot water and drive lighting and for the fireplace, logs of recycled cardboard. Edendale has had a varied history as a dog pound and even as a retreat for Thomas Cool, Club Manager of the Victoria Coffee Palace in Melbourne. His single-storey weatherboard house built in 1896, which still stands, was grander than most homes in Eltham. Although such buildings were common in many other parts of Melbourne, Eltham’s poverty and remoteness did not encourage such construction. The Victorian rectangular-shaped house, with a corrugated iron roof and veranda, has elegant large rooms, leadlight windows, ceiling roses, two bay windows and ornately carved wooden fireplace surrounds. Cool bought seven acres (2.8ha) from pioneer Eltham farmer Henry Stooke’s 200 acre (81ha) farm, which he had bought from the Crown in 1852. In 1918 Cool bought an extra seven acres (2.8ha) but in 1919 sold the estate to farmer John Cox. In 1933 Cox sold Edendale to Mrs Elizabeth Gaston, after whom the road leading to the centre was named. The property was owned by several Gaston family members, who called it Edendale, then by a police constable, Douglas Mummery, until the Shire of Eltham bought it in 1970. Oddly Edendale was known as Mummery’s for almost 20 years, although Mummery owned it only for a short time.4 The shire used Edendale as a dog pound until amalgamation with other municipalities in 1996. The pound then moved to the Yan Yean Road, Plenty site, which had been used by the former Diamond Valley Shire Council. To the west and north the centre is bounded by Diamond Creek and on the east by the Melbourne-Hurstbridge railway line. Part of the Research creek forms the centre’s southern boundary.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, edendale farm

Community information book issued by City of Ringwood for 1993 - covering the facilities and activities of the Ringwood Council and other local organisations and associations. Includes two Ringwood Aquatic Centre bonus entry vouchers valid until June 30th, 1993. Cover photographs: Front - Poppet Head, Ringwood Lake; Back - Opening of North Ringwood Child Care Centre. CONTENTS: (page no.) Message from the Mayor – Cr. Greg Adkins, J.P. 3 Councillors 4 Council & Committee Cycle 5 Council Elections 6 History of Ringwood 7 Chief Executive's Report 8 The Management Team 9 Functional Responsibilities 10 Community Liaison 11 Council Expenditure for 1992/93 12 Rates and Valuations 13 COUNCIL SERVICES Community Services 14 Protecting the Environment 17 Protecting Our Community 19 Town Planning 21 Building 22 Design and Investigation 23 Works 24 Street Index - Electoral Wards 25 Neighbourhood Map 26 and 27 COUNCIL RECREAION AND LEISURE FACILITIES Ringwood Golf Course 29 Aquatic Centre 30 The Ringwood Convention Centre 32 Ringwood Library 34 Ringwood Recreation 35 Parks and Reserves 30 Community Directory 38-50 Community Information Data Bank 51 Aquatic Centre Vouchers 51rinx

The mystery of the Portuguese Caravel, commonly known as the ‘Mahogany Ship’ is today regarded as legend and refers to an ancient wreck that is said to lie beneath the sand between Warrnambool and Port Fairy. Its location is currently unknown, but many people have searched for it through the years since the first reported sighting of an unidentified wreck in 1836. For over a century this mystery has fascinated Australians because the existence of such a vessel could throw light on the earliest phase of exploration of Eastern Australia by Europeans. The interest in the mystery was high enough for the Victorian Government to offer a reward in 1992 which was subsequently withdrawn a year later with no monies being paid.This item is historically significant because of its relationship to an ongoing mystery (the Mahogany Ship) that may throw light on the early exploration of Australia. The offering of a reward, 150+years after the first recorded sighting, by the Victorian Government points to the ongoing fascination with this subject to the Victorian people.A reward poster printed on calico. Even though the poster was created in 1992 it follows the regular structure of a reward poster from earlier times; the word REWARD in large print at the top, the amount $250,000 in bold type and an imagined drawing of the missing Portuguese Caravel.Printed text: REWARD Notice is hereby given that the Government of Victoria is offering a REWARD of $250,000 for the DISCOVERY of an international invader that has eluded authorities for more than 400 years. Believed to be a PORTUGUESE CARAVEL, this traveller is thought to be hiding somewhere along the world's most scenic coastal drive- Victoria's Great Ocean Road. Positive sightings could rewrite the HISTORY OF AUSTRALIA. More than 20 unconfirmed sightings have been reported since 1836. Description: Approx. 26 metres long, 12 metres wide, 20 metres in height, dark brown in colour. BOUNTY HUNTERS AND INTERESTED PARTIES SHOULD APPLY TO: FLAGSTAFF HILL MARITIME MUSEUM, PO BOX 574 WARRNAMBOOL 3280 OR TOURISM MANAGER, DEPARTMENT OF CONSERVATION & ENVIRONMENT, 8TH FLOOR 250 VICTORIA PARADE, EAST MELBOURNE 3002 BY ORDER OF THE VICTORIAN MINISTER FOR TOURISM. Printed image: back view of a Caravel in full sail flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, port fairy, portuguese caravel, mahogany ship, reward poster, victorian government

The red-winged blackbird is native to North America. They live in a verity of places from southern Alaska at its northern most point, to the Yucatan peninsula in the south and covers the greater part of the continent reaching from the Pacific coast of California and Canada to the eastern seaboard. Populations that are most northerly migrate south after the mating season, but some of the populations in the central and western United States, Central America and the Gulf Coast are resident year-round. In the breeding season, Red-winged blackbirds are found in a range of fresh and saltwater environments, including in small trees and bushes along marshes and watercourses, in agricultural areas and dry meadows. During migration, they can be found in, pastures, prairies and cultivated fields. They are polygamous. The Red-winged blackbirds are known for their scarlet and yellow shoulder patches but on this specimen are rather dull and the feathers are not as glossy black as they are in other images. It is mounted accurately but the feathers appear to be ruffled. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Red-Winged Blackbird is one of the most common birds in North America and is the most boldly coloured one. The males are glossy-black with shoulder patches of scarlet and yellow which they are able to puff up or hide according to their level of confidence. Females look like a big, dark sparrow, being a subdued, streaky brown. The colouring of this particular specimen identifies it as male.[torn] page 58 / Tag: A. 4423taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, north america, red-winged blackbird, red-winged starling, migratory, alaska, canada, saltwater

These eggs could be ostrich eggs from an ostrich farm which operated just out of Marlo. It is likely that they were donated by Kate and Richard Earle who ran the enterprise. Emu and ostrich eggs are perfect for decorating, painting or carving. Emu egg shells have multiple layers ranging from an inner white layer through to the dark green outer layer. The contents must be removed through a small hole (either tool drilled or poked with a needle). After the yolk has been blown out (scrambling the yolk first by poking with a needle will make it easier to remove), the egg needs to be washed through and left to drain dry. It can then be painted, carved, etched or decorated. Emu decorating is a traditional Aboriginal art. The carving of emu eggs by Indigenous and non-Indigenous people was popular in the late 19th century but production declined in the 20th century, partly due to the protection of eggs through legislation. This has been overturned in recent years with the development of commercial emu farms. In the period between the two world wars particularly, with the production of other Aboriginal artefacts for an outside market, the carving of emu eggs provided an important source of income for Aboriginal people in many parts of Australia. It was a widespread practice in the south-east and it was not unusual for Aboriginal people to decorate their own homes with carved eggs and other items created by themselves or community members, serving to affirm an Indigenous identity within the domestic environment. (ref National Gallery of Australia)This item is significant for its uniqueness and aesthetic appeal.Two painted eggs on stands. 1907.1 is painted black and has white emus or ostriches painted on it. 1907.2 is painted white and has black emus or ostriches painted on it. Both stands are wooden with brass pedestals. The eggs are possibly ostrich eggs.handcraft emu-egg ornament ostrich-egg

The Freshwater Crocodile can measure up to 3 meters and is generally not considered to be a threat to humans. They reside in Northern Australia, Western Australia and the northern part of Cape York Peninsula in Queensland. They live in freshwater environments and make burrows among the roots of trees which fringe the waters they can be found in. This species of Crocodile mainly feed on invertebrate and vertebrate prey which includes insects, spiders, frogs, fish and small birds and mammals. They are also recognized as "cannibalistic" with the older Freshwater Crocodile occasionally preying on young hatchlings. These crocodiles are known for their "high walk" which they do to move on land. It is named "high walk" because the animal lifts their body off the ground using their long legs for height. They are able to walk considerable distances on land using this technique. In captivity, Freshwater Crocodiles are known to be hostile and aggressive to others of its species. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Freshwater Crocodile has a slender snout which is much smaller and thinner than its Saltwater counterpart. This specimen has dark grey and brown colouring with the darker colours concentrated around the face and upper torso of the Crocodile. There are darker stripes along the tail which features triangular scales and is long in length. The teeth are visible and bright yellow glass has been used to replace the eyes of this particular specimen. The crocodile has long but thin limbs which protrude from the sides of the body.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, crocodile, freshwater crocodile, johnstone's crocodile

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

This "coffee" tin has by the "art deco" appearance its origins in the late 1950's to 1960's. This time period was one of accelerated growth both in the physical (housing) sense and the mental (new ideas and inventions) changes in "attitudes". These occurred more rapidly in cities but had its effects on the rural environment. The drinking of coffee was spurred on by easier distribution of imported food and drinks. Advertising by stronger radio links and then by television brought the variety of foods and drinks to semi isolated rural regions. The accessibility through greater information channels becoming available brought with it unbelievable ranges of goods and foodstuffs. Rural regions still relied on bulk supplies and relatively larger storage containers than those in cities. This "bulk" buying and storage "syndrome" was a lingering result of many years of "drought" periods when road transports met delays from flooded roadways in supplying population centres in the Kiewa Valley. The construction phases in building the SEC Vic Hydro electricity Scheme in the eastern sections of the Victorian Alps brought many changes to the quiet rural regions in the Kiewa Valley. Changes in population and social mores. The influx of a varied , mostly temporary, and "European flavoured cuisine" changes the "cuppa tea only" flavour to the have a "coffee break". The subliminal influence of the "American" films changed those children growing up in the post 1950s from the "English tea" to the "American coffee". This "Americanisation process has influenced not only rural Australia but also other areas throughout the world.This "insignificant" coffee tin is very significant as it demonstrates that the Kiewa Valley was becoming more accessible to reliable coffee supplies and general food items.The container was part of a "set" of containers that included tea, sugar,biscuits,flour, rice and other family condiments. This type of kitchen storage containers was brought about through changing patterns in tea and coffee useage and overall consumption. Household demands for faster "self help" cooking especially beveridges and the greater choice of kitchen "utensils" was brought on by easier access to products due to a lessening of the area's "isolation" by having a reliable (all weather) road system and an ever increasing population growth. The need for travelling goods/merchant supply caravans to service the area became a diminishing factor, as a result of the establishment of grocery stores in Tawonga and Mount Beauty in the supply of previously "hard to get" groceries. This transition was precipitated by the SEC Vic Hydro Scheme of the 1940's to 1960's which increased the valley's population level three fold.This cylindrical tin has a pull/push lid(for easy access to the contents). The container is labelled for "coffee" however it has no commercial manufacturer's label to establish that it was bought with coffee ingredients in it. The majority of the container's external surface has a "metallic" light blue colour with two sets of silver rings confining black (horizontal spotted) rectangles. "COFFEE" within an elongated spherical "art deco" four pointed banner of silver and black colouringkitchen containers, domestic food storage, bulk stocks of dried condiments

Pipe smoking has been in vogue for centuries, and in Australia it was a symbol of the "discerning smoker" such as the landed gentry or men of professional status. This pipe, of the Standard Canadian style, would have emigrated to Australia with its owner, a reasonable young professional or executive of the Hudson Bay Tobacco Company in the late 1800s or early 1900s. It is the type of pipe well suited to a harsh rural backdrop and with its owner found the Kiewa Valley a more relaxed environment than the Canadian Indian locations. The value of this pipe to the original owner, who would have sealed many trade contracts during the Canadian Indian smoke rituals In the late 1800s, is indicated by the long voyage to Australia and the Kiewa Valley. However with the health related restrictions placed on public smoking in the early 2000s, these tobacco pipes were not immune from the legislation, and even though the pipe smoke was not as offensive as cigarette smoke it still came under the umbrella of smoking. Pipes were also used in the process of inhaling illicit drugs i.e. marijuana, but this use was limited to a very few and not with this pipe. Smoking in the second millennium is being phased out as a social habit in Australia but may affect the few "private" smoker and has, as the United States prohibition era (alcoholic drinks) did, spawn an illicit trade in cheap contraband tobacco. Pipes such as this item show that smoking was not only part of the lifestyle of the era but also that it was part of a ritual (especially to the Indians of the Canada Hudson Bay region) that sealed a brotherhood not only socially but also politically and economically.This type of pipe lends itself well to the rural setting of the Kiewa Valley and although it is a very exclusive pipe it blended into the tobacco industrial environment of the Kiewa Valley and its surrounding districts. The Kiewa Valley region was up until the late 1900s part of the Australian Tobacco industry and the levels of men smoking pipes was enhanced by the readily supply, "off the fields", of tobacco leaves and the attitude to city based smoking restrictions was one of resentment.This pipe has a straight shank and stem and its style is 'standard Canadian'. The pipe has a permanent filter and a stainless steel band with the initials of the Hudson Bay Tobacco Company and its seals stamped on it.. The bowl and shank are one piece of appropriate shaped wood. The bit and bore are made from bakelite (dark brown in colour). The pipe is fashioned in the form of the clay pipes used by trappers, in the late 1800s early 1900s. It has a "rest" lug at the bottom of the bowl similar to clay pipes. This pipe has its own pipe case with wood reinforcement running the entire pipe shaped contour.On the stainless steel at the mortise and tenon junction is stamped "HP" and below that are stamped symbols of a ship's anchor, a lion and a tobacco leaf.tobacco, pipe smoking, smoking accessories

The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. These were the first behind the ear hearing aids manufactured by the National Acoustic Laboraties (NAL) in Australia Body worn hearing aid consisting of separate pieces, one for each ear with attached ear mould, for one ear, in original box. Provided and manufactured by the NAL (National Acoustic Laboratories), part of the Commonwealth Department of Health. "NAL" in centre of stylised map of Australia. "COMMONWEALTH/DEPARTMENT OF HEALTH" on inside of box. "IV" and "F.McD/RIGHT" manually etched on hearing aid. "II" manually etched on other hearing aid. "CAL AID H" inscribed on inside edge of hearing aid.

The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. Single Behind-the-ear hearing aid with ear mould. "BOSCH/GERMANY" on the side bottom of aid, "7327476" on face, "46AYG-D" on inside edge

The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button.These were the first behind the ear hearing aids manufactured by the National Acoustic Laboraties (NAL) in Australia Single behind-the-ear hearing aid.

The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. Silver metal case with side clips and hearing aid attached. Has battery compartment for AA batteries. Volume control is the top left hand corner. "C OF A/CALAID/36778" on back of case deaf children australia, hearing aid, calaid

The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. Silver metal case with side clips and hearing aid attached. Has battery compartment for AA batteries. Volume control is the top left hand corner. Comes with its black case "C OF A/CALAID/101862" on back of case. "ANGUS & COOTE/Acoustics/HEARING AIDS" on inside cover of case

The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. Square, silver metal hearing aid with electronics and AA battery compartments. Has an ear piece and ear mould attached by wire, with a volume adjustment. A body level type, probably a CALAID T manufacture from 1955 to the 70's. On front "C OF A/CALAID/108499" deaf children australia, hearing aid, calaid, commonwealth of australia

Piers Bateman was a local artist, held in very high esteem by his peers and community. He was born in Perth in 1947, moving to Eltham in 1955 as a young child with his family. In 1966 Bateman moved to London for eighteen months to develop his craft. In 1969 he settled in St Andrews, where he built a studio. The St Andrews locale is said to have been a strong influence on his work. Bateman’s talent was such that he was promoted and mentored by such ilk as Charles Blackman, Clifton Pugh and Arthur Boyd, among others. Bateman’s work is an intimate dialogue with the environment, renowned for his paintings of the outback, wilderness frontiers and the sea. He spent a year in the mid-seventies sailing the Greek Islands and the French canals to Amsterdam. In 1980 Bateman and Marcus Skipper embarked on a trans-Australian venture to the red centre and across northern Australia from Cairns to Broome. In the mid-eighties Bateman returned to the Mediterranean, before returning to the Australian outback in the late-eighties. His international career continued on an upwards trajectory between the Australian outback and European seas, providing a unique contrast throughout the course of his career. Bateman's work questions our relationship with the natural world, and in particular, reconciling our colonial heritage with our indigenous past. This line of questioning and his genuine response to place is the key to Piers Bateman’s work, for which he is lauded and celebrated. On September 4th 2015, Piers Bateman died in a boating accident on the NSW coast line. Piers Bateman was an instinctive painter whose inspiration came from nature. He reworked and scraped off the paint, moving it around until forms and colours of the landscape took shape. Although Bateman lived in Spain and Italy, his time in Europe made him aware of the contrast between the two continents and the bright clear light that defined the Australian landscape. At the time of this work, Bateman was living in St. Andrews, but travelled regularly to New South Wales and South Australia on painting trips. The ‘Grass Tree’ Xanthorrhoea johnsonii (commonly known as ‘blackboy’) is indigenous to these areas. It is a uniquely Australian, slow growing plant with twenty-eight species growing within Australia. Old examples of this tree are survivors of many wild fires, which can cause their blackened trunk, of one to two metres, branch into two or more heads. These heads consist of thick, rough corky bark, surrounded by long, wiry leaves and flowers that produce seed capsules with hard black seeds. The tree’s ability to be one of the first to flower after a wild fire ensures a food source for many insects and birds.Oil on canvas painting. Detail of three grass trees resting on the side of a mountain/hill. Green and gold palette throughout depicting the colours and light of the Australian landscape. Hand written, low right in capitals: 'BATEMAN'bateman, grass trees, xanthorrhoea johnsonii, landscape

The first British designed and made Centurion tanks arrived in Australia in June 1952. The first tanks went to the 1st Armoured Regiment, but as more tanks became available armoured regiments of the Citizen Military Forces received replacements for their aging General Grant tanks. The Centurion was a great improvement on the Grant with a bigger gun and the ability to fire accurately while moving. Serving soldiers of regiments such as 8th/13th Victorian Mounted Rifles were converted to the new tank and National Servicemen received full-time training while at Puckapunyal. In February 1968, C Squadron, 1st Armoured Regiment, equipped with Centurion tanks was sent to Vietnam. This tank No 169073 was one of the twenty tanks which served in Vietnam. There were many doubters about the likely usefulness of the Centurion in the jungle and paddy field environment of South Vietnam. How would this very large tank perform? No one needed to have worried. The tanks performed magnificently and were treasured by the infantry with whom they operated. ‘Tanks save lives’ was the catchcry. Several Reserve officers were attached to the Squadron in Vietnam including Colonel John Neale and Major Gordon Cole. Following the Australian withdrawal, the tanks were refurbished and issued to Army Reserve regiments for training. Our tank was allocated to 8th/13th Victorian Mounted Rifles. Together with the tanks came a crop of Regular Army Cadre staff and training reached a new peak. When the Centurion was superseded by the Leopard surplus vehicles were allocated to museums and regimental collections as trophy vehicles. Black and white photograph of Centurion Tank No. 169073 at Buna Barracks, Albury, home of 8/13 Victorian Mounted Rifles 1988.centurion, tank, buna barracks, albury, vmr

This sign proudly hung outside the Forests Commission Victoria (FCV) Beechworth office which is now site of the Forestry Heritage Museum. The granite building in the Beechworth's historic precinct was once the Gold Warden's Office and is one of the town's original buildings. The FCV was the main government authority responsible for management and protection of State forests in Victoria between 1918 and 1983. The Commission was responsible for ″forest policy, prevention and suppression of bushfires, issuing leases and licences, planting and thinning of forests, the development of plantations, reforestation, nurseries, forestry education, the development of commercial timber harvesting and marketing of produce, building and maintaining forest roads, provision of recreation facilities, protection of water, soils and wildlife, forest research and making recommendations on the acquisition or alienation of land for forest purposes″. The Forests Commission had a long and proud history of innovation and of managing Victoria's State forests but in September 1983 lost its discrete identity when it was merged into the newly formed Victorian Department of Conservation, Forests and Lands (CFL) along with the Crown Lands and Survey Department, National Park Service, Soil Conservation Authority and Fisheries and Wildlife Service. After the amalgamation the management of State forests and the forestry profession continued but the tempo of change accelerated, with many more departmental restructures occurring over the subsequent four decades. Responsibilities are currently split between the Department of Energy, Environment and Climate Action (DEECA), Forests Fire Management Victoria (FFMV), Parks Victoria, Melbourne Water, Alpine Resorts Commission, the State Government-owned commercial entity VicForests and the privately owned Hancock Victorian Plantations (HVP).Large office sign. Hand painted in traditional FCV mission brown and gold colour scheme.forests commission victoria (fcv), forest signs

In 1983, the National Trust advised the Shire of Eltham that it was investigating a number of trees within the shire which had been nominated for recording the Register of Significant Trees of Victoria. The trees involved were described in the Shire of Eltham Historical Society Newsletter No. 29, March 1983 as follows:- 1. Eucalyptus melliadora (Yellow box) . a) An outstanding mature specimen 42 metres high in Laughing Waters Road, Eltham. b) Another mature specimen in Arthurs Creek road, Hurstbridge is reported to be the tree under which the bushranger Robert Bourke was tied after he shot and killed Henry Hurst in 1866 . 2. Quercus robur (English Oak). a) "Donaldson's Oak", Donaldsons Road, Kangaroo Ground was planted by John Donaldson from seed collected from Windsor Great Park in 1878. b) "Wippells Oak". This now misshapen tree is located on the St. Andrews Road near the Kangaroo Ground Fire Station. Its origins may have been similar to Donaldson's Oak, and as a young tree it apparently slipped from higher up the hill during wet weather. Both oaks are of local historical importance. 3. Eucalyptus globulus (Blue Gum). A large mature specimen at the corner of the Kangaroo Ground-St. Andrews Road and Bakehouse Road, Panton Hill. 4. Plantanas acerifolia (Plane tree) A number of trees forming the Avenue of Honour to Eltham's First World War soldiers along Main Road between Dalton and Pitt Streets, Eltham. 5. Pinus canariensis (Canary Island Pine), Pinus pinea, (Stone pine) and Cedras altlantica, (Cedar) These trees are located at the Hurst family graves in the grounds of the Hurstbridge Pre-school Centre. In 1991 the Shire of Eltham introduced controls into its planning scheme to protect sites of architectural, historic or conservation interest and significant trees. The controls were approved by the Minister for Planning and Housing. As advised in the Shire of Eltham Historical Society Newsletter No. 78, May 1991, a planning permit is required to demolish or alter any listed building or to destroy, lop or remove any listed tree. Provision is made for comments to be obtained from the National Trust or Historic Buildings Council in considering any applications. The buildings and trees listed were: Buildings: 250 Bolton Street Eltham (former Walter Withers home) "Rosehill" - Bonds Road Lower Plenty St Andrews Church of England - St Andrews "Montsalvat" - Hillcrest Avenue Eltham St Margarets Church and former vicarage - Pitt Street Eltham Presbyterian Church - Kangaroo Ground Parks and Environment Office (former police quarters) Main Road Eltham Former Court House - Main Road Eltham "Shillinglaw Cottage" - Main Road Eltham "The Robins" - Kangaroo Ground Road Warrandyte Trees: "Donaldsons Oak" - Donaldsons Road Kangaroo Ground Yellow Box - Laughing Waters Road Eltham Yellow Box - Arthurs Creek Road Hurstbridge Wippells Oak - St Andrews Road Kanqaroo Road Pines and Cedar - Hurst family cemetery Greysharps Road Hurstbridge Yellow Box - Parsons Road Eltham A large Blue Gum at Panton Hill has been listed but has recently died (1991). In 1993 work by Council Parks and Environment staff and volunteers resulted in the preparation of a Significant Tree Register listing forty-one trees or groups of trees. According to Shire of Eltham Historical Society Newsletter No. 91, March 1993, a similar number remained to be assessed for inclusion in the register. There is a wide range of indigenous and planted trees on private and public land and extending through the Shire of Eltham from Lower Plenty to Kinglake. Most can be viewed from publicly accessible locations. The Significant Tree Register lists 41 trees or groups of trees throughout the Shire. It contains a wide range of naturally occurring and planted trees. They have been assessed according to eleven criteria including size, age, rarity, historical value and the like. The list includes large old Red Gums at Lower Plenty, historic Oaks at Kangaroo Ground and Mountain Ash at Kinglake. The register includes a set of slides showing each tree. Garry Bartlett of the Council's Parks and Environment Section and Faye Shepherd were extensively involved in establishment of the register (Newsletter No. 93, November 1993). In 1999 Niliumbik planners prepared an amendment to the Planning Scheme to provide protection for approximately 200 of the places listed in the heritage studies and also in the Significant Tree Register commenced by the Eltham Council (Eltham District Historical Society Newsletter No. 127, July 1999. In 2004, The Register of Significant Trees was presented to the Eltham District Historical Society by Nillumbik Shire Council as part of a wider collection of of its memorabilia of the former Eltham Shire Council (EDHS Newsletter No. 159, July 2004. Album of loose handmade paper sheets contained within a handmade slip cover constructed of handcrafted card with encapsulated flora material (flowers, vines, ferns) and tinted. Each page also contains an embedded/adhered fern leaf also tinted with lacqueur or similar, text as appropriate in ink by hand calligraphy. Each page also has a white protective sheet cut to size and adhered to back surface with sticky tape and folded over face of page. Pages variously have photographs and coloured masks adhered with a gum resin. Over time much of this resin has let go and photos/masks have been reattached using acid free archival safe adhesive. 15 pages 41 x 29 cm inclusive of 3 blank pages. Slip case 42 x 30 x 1 cm; face cover of slip case has broken off at left hand margin as insufficient depth/flexibility for contents.arthurs creek road, blue gum (eucalyptus globulus), canary island pine (pinus canariensis), couties road, donaldsons oak, donaldsons road, eltham, english oak (quercus robur), eucalyptus melliodora, graysharps road, hurst tree, hurstbridge, ironbark (eucalyptus tricarpa), ironbark hill, kangaroo ground, kangaroo ground-kinglake road, laughing waters road, panton hill hotel, panton hill, parsons road, significant trees register, sonia van bodegraven, sonjart, stone pine (pinus pinea). atlantic cedar (cedrus atlantica), wippells oak, yellow box gum (eucalyptus melliodora), yellow box gum

Ballarat University College was affiliated with the University of Melbourne. It was previously Ballarat College of Advanced Education, and later became the University of Ballarat. John Sharpham was the Director of the Ballarat College of Advanced Education. In 1991 the college had an enrolment of over 4,200 people.Nine four page newsletters of the Ballarat University College. .1) Steve Moneghetti interview and picture, Chianti, Pat Hope biography, Platypus Survical Study, Halls of Residence. .2) John Sharpham, Pat Hope, National rankings, Mount Helen Library extensions, Student accomodation, H. Troon Pty Ltd, Brett Edgington, Melissa Graham, Michael Ransom, Department of Conservation and Environment, Land rehabilitation, Ron Kemp, Richard Steep, Rodger Fernandez, francoise Jewell, Petrus Spronk, basketball. .3) Literary Essay Wards, Meg Tasker, John Sharpham, Garry Kinnane, Town and Gown, Keving Livingston, Bruce Garner, Sports Performance unit, Director's Medal winners - Paul Davidson and Belinda Collins .4) Derek Woolley, John Sharpham, Assistant Director, Scott barber, nursing, Thoshan Ruberu .5) Ian Brain, Brotherhood of St Laurence, John Sharpham, Nina McKay, Koorie Bridging Course .6) John Sharpham, Taiwan, Dennis Else, Trevor Hastings, Leanne Phillips, Cinnamon Francis .7) Derek Woolley, Asian Studies, Carolyn Blackman, Rober Sharrock, Cari Dowing, Jodie Hawkin, Mary Hickey, Nigel McCallum, Kevin Livingston .8) John Sharpham, Mary Hickey, Mohammad Hilmi, Bin Yusof, Bill Pryor, Ross ramsat, Clare Cummins, Extra Muros, Anne Rowe, Mary Egan, Vicki Shelton .9) John Sharpham, Garry Kidd, Peter BlizzardElaine d'Esterre Ian hemingway, Parking, Kerry Daniell, Denis Shanahan, trevor hastings moneghetti, student accomodation, mt helen student accommodation, ballarat university college, hope, chianti, platypus, jewell, kemp, steep, spronk, petrus spronk, tasker, kinnane, garner, livingston, town and gown, ruberu, barber, else, phillips, collins, francis, wooley, livingston, mccallum, hickey, sharrock, dowing, hawkins, egan, shelton, pryor, ramsay, hilmi, yusof

The red-winged blackbird is native to North America. They live in a verity of places from southern Alaska at its northern most point, to the Yucatan peninsula in the south and covers the greater part of the continent reaching from the Pacific coast of California and Canada to the eastern seaboard. Populations that are most northerly migrate south after the mating season, but some of the populations in the central and western United States, Central America and the Gulf Coast are resident year-round. In the breeding season, Red-winged blackbirds are found in a range of fresh and saltwater environments, including in small trees and bushes along marshes and watercourses, in agricultural areas and dry meadows. During migration, they can be found in, pastures, prairies and cultivated fields. They are polygamous. In the north, the early arrival and tumbling song of these birds are welcome indications of spring's return. The Red-winged blackbirds are known for their scarlet and yellow shoulder patches on this specimen are rather dull and the feathers are not as glossy black as they are in other images. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This is one of the most common birds in North America and is the most boldly coloured one. The males are glossy-black with shoulder patches of scarlet and yellow which they are able to puff up or hide according to their level of confidence. Females look like a big, dark sparrow, being a subdued, streaky brown. This specimen has the colouring of the male Red-Winged Blackbird which helps to identify it as such.Swing-Tag: 137a. / Red-winged Starling / Catalogue page, 58 / Tag: A. 4429taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, north america, red-winged blackbird, red-winged starling, migratory, alaska, canada, saltwater

This photograph was taken in the 1960s of the Lake Sambell Swimming Pool with the lake itself in the background. The swimming pool area has multiple features including park benches, a water slide, and a fenced area with a diving pontoon for lap swimming and racing. Lake Sambell Swimming Pool was completed in 1961, driven largely by R.E. Carter, Beechworth shire engineer from 1954-63. Carter advocated for improvements to the lake and surrounding area in order to encourage tourism in Beechworth. The opening of the swimming pool was part of many improvements to Lake Sambell made during this period by Carter including establishing the caravan park in 1959, water skiing and boating facilities, and increasing the lake surface in 1964. These improvements were financed mainly by grants from the Tourist Development Authority. For many decades, members of the local Beechworth community had advocated for the development of swimming pool at the lake that would include a safe wadding area and Olympic standard lanes for laps and races. Throughout the 1940s the Beechworth Swimming Club tried to raise awareness and funds to address the structural engineering issues, raise the water levels, and improve swimming facilities at the lake. Beechworth Swimming Club hosted a swimming carnival at the lake in 1948, but it was decided due to several issues at the event, that no further carnivals would be hosted until necessary improvements were made to the area. Swimming pools, both artificial and built into natural environments, were an extremely popular public space throughout the 20th century in Australia. Increasing in accessibility and popularity through such developments as less restrictive swimming outfits during 1920s, public building works during the 1920s and 30s, and an increase in leisure time during a period of post-war prosperity. This photograph is of historical significance as it documents the newly established Lake Sambell Swimming Pool in the 1960s after many decades of discussion and proposals around creating a safe swimming area at the lake. Further, this photograph provides important social insights into the facilities and uses of this pool in the 1960s, and underlines the significant role public swimming pools have played in Australian social and recreational experiences. Black and white rectangle photograph printed on photographic paper and unmounted.Reverse: 3537 / C798lake sambell swimming pool, lake sambell water slide, water slide 1960s, lake sambell pontoon, lake sambell 1960s, lake swimming pool, lake swimming, beechworth swimming club, swimming pools in the 20th century, r.e. carter, tourist development authority, beechworth 1960s, lake water slide, lake sambell, wadding pool, swimming, swimming pool 1960s, leisure, recreation 1960s

Gordon Ford was a conservationist and a pioneer of natural-style landscaping. He came to Eltham in 1948 and bought a block of land in John Street extending through to Pitt Street. Artist Peter Glass lived opposite in John Street. Early on, Gordon worked for Alistair Knox on construction of the mudbrick Busst house amongst others. At the same time, with the help of friends including artist Clifton Pugh, he progressively built his own house ‘Fülling’, which "grew like Topsy" utilising a variety of second-hand materials. His main focus, which became his life-long occupation, was garden landscaping. Inspired by Edna Walling and Ellis Stones, he sought to reflect the bush settings of rural Victoria where he had grown up. Commissions included Monash University and countless industrial sites but designing for the archetypal quarter-acre block gave him the most satisfaction. He had a huge impact on the look of gardens in Australia from the 1950s, creating seemingly natural bush environments by carefully integrating indigenous and exotic plantings. Gordon died in 1999 and is buried in Eltham Cemetery; the gravesite in a natural landscape setting is marked by a plaque. Another plaque (away from his grave) notes his landscaping design work within the cemetery grounds and at Alistair Knox Park. Gordon Craig Ford 30-8-1918 - 16-6-1999 Landscape designer Loved and respected Husband of Gwen, father Of Angela, Emma, Ben, Cassie, Dailan, Caitlin. A good life lived well Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p55This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, graves, eltham cemetery, gordon craig ford, gravestones, gwen ford, memorials

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