Although barely visible in the image, the writing on the side of the wagon indicates it belongs to the Marriott family. The man seated at the front with the reins in his hands has been identified as Alfred Marriott. The wagon is loaded with vegetables including cabbages and (possibly) carrots. The young girl seated next to Alfred has been identified as Gladys Marriott. Black and white image of horse drawn wagon, loaded with vegetables. Seated at the front of the wagon is a man, holding the reins, and a young girl. A young boy is visble, kneeling on the ground and peeking through the underside of the wagon

Henry Sutton was a teacher at the Ballarat School of Mines which is a predecessor of Federation University.Pencil drawn picture of a female (Emilie Sutton) with her hand near her mouth, in a large bronze coloured frame. Done at Ballarat School of Design.emilie sutton, portrait, drawing, henry sutton, ballarat school of design

Original jewellery design for 'Britannia' pendant by Ernest Leviny, designed when he was living in London c1851, before travelling to the Australian goldfields of Castlemaine in late 1852. Leviny and his partner, Frederick Boocke, supplied jewellery designs to Watherston and Brogden in London. This design was made into a pendant by another London company, S.H. & D. Gass and was awarded a prize medal at the Great Exhibition of 1851 at the Crystal Palace in London. Leviny brought many of his original jewellery designs with him when he came out to Australia from Britain. See Schofield, Anne & Fahy, Kevin (1991), 'Australian jewellery: 19th and early 20th century'; Woodbridge, Suffolk, Antique Collectors Club, p. 39; Gere, Charalotte & Rudoe, Judy (2010), 'Jewellery in the Age of Queen Victoria', Pub.The British Museum p.340.This original jewellery design for the 'Britannia' pendant by noted colonial silversmith and jewellery, Ernest Leviny, is significant due to its link with the 'Britannia Pendant' awarded a prize medal at Great Exhibition of 1851, held at the Crystal Palace in London.Original jewellery design for a pendant featuring a standing woman (Britannia) holding a trident in her left hand and possible oar in her right hand, with Gothic style ornate pillars on each side and an archway overhead. Beneath the figure are three pearl drops. Drawn in pencil on grey card with gold ink highlights and red watercolour tinting.ernest leviny, jewellery, design, illustration, brittania, 1851, great exhibition of 1851

Illustration of the intersection of Sturt St and Lydiard St Nth with the Ballarat Post Office being the primary feature. Has an ESCo tram turning from Sturt St into Lydiard St. Shows the trackwork at this location and has several horse-drawn vehicles in the photograph. Note the building in the road space on the left-hand side of the photograph. The caption along the bottom edge "View from Lydiard Street South looking across Sturt Street to the Post Office and Lydiard Street North to the Railway Station. On the rear has an item about Ballarat itself and its history. See also item 6245 for a postcard of this view. Yields information about the post office corner at the time of the opening of the tramway and demonstrates printing techniques.Black and white Illustration cut from a journaltramways, trams, sturt st, esco, post office, lydiard st north

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

Copy of original photograph. Photograph shows a woman with hair drawn back front face, wearing striped long-sleeved waisted full skirted gown, seated with hands folded together on lap, beside a bearded man wearing suit with bow tie, standing at left with right hand behind woman's shoulder, left arm hanging by his side."Mr and Mrs John Christie, Carngham - Man of Kent hotel buried in Linton cemetery".mr & mrs john christie, man of kent hotel carngham

Copy of original photograph. Photograph shows an older woman with hair drawn back off face, wearing a hat and a long-sleeved, waisted outfit with front buttoned bodice, lace at throat and striped tie, large round brooch at throat, standing with left arm by her side, right arm bent hand resting on back of a chair."Helen Christie nee Clarke Mrs William Christie of Piggoreet Station".helen christie, helen clarke, mrs william christie, piggoreet station

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.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, great hall, montsalvat

Depicting a coach service between Mordialloc, Cheltemham and Brighton, which also shows the other coaches in the background which could be stopping at a coach hubBlack and white image of a horse drawn wagon with a man sitting on top holding the reins written across the side of the wagon Mordialloc Cheltenham and Brighton, indicating the route the coach took. Behind the coach is what appears to be a house with several other coaches in the yard indicating it could be a coach stop on the routePrinted in black text a round white sticker: 76 Hand written in red ink: 70%coach, horse drawn wagon, public transport, mordialloc, cheltenham, brighton

Black and white image depicting two men wearing aprons standing in front of Moorabbin Co-operative Stores, Nepean Highway Cheltenham. Exchange Hotel to the right. Three horse drawn wagons, on the left two white horses with a man holding the reins, one carrying a load with hessian sacks and another on the far right with a man in the seat of the wagon also wearing an apron, suggesting they are workers at the store.Black and white image of two men wearing aprons standing in front of Moorabbin Co-operative Store with three horse drawn wagons, on the left two white horses with a man holding the reins, one carrying a load with hessian sacks and another on the far right with a man in the seat of the wagon also wearing an apron. A sign on the left hand side of the building Havelock Tabacco.Printed in black text a round white sticker: 75 Hand written in red ink: 75%horse drawn wagon, workers, moorabbin, cheltenham, commerce, trade

Text book of counterpoint by Geo. Oakey, b. 1841, 6th ed., rewritten and enl. London : J. Curwen & Sons, 1890, 112 p. : music ; 19 cm. This book was part of the collection of Frank Wright OBE.Green hard linen covered book, 117 pages, with gold lettering on front cover and spine.Embossed border on front and back covers with J.C.S. also embossed middle back cover.Handwritten notes in pencil and scroll drawn in black ink with "Frank Wright 'Laura Villa' Smeaton 18.2 1920" on front end papers. "Frank Wright Smeaton 1/2/1920 handwritten in black ink on title page tp right hand corner. Pencilled notes on back end papers.oakey, counterpoint, music, frank wright, wright, j. curwen & sons, smeaton, 1920

Dendrites are deposits of black minerals, typically manganese oxides that precipitated from water seeping through fractures in fine-grain rocks like a sandstone or limestone. Dendrites are much less regular than plant fossils and lacks vein structures. The manganese cryztallizes through the process called 'supercooling'. Some samples of dendrites occur in volcanic rocks in the Lilydale district, east of Melbourne. Sandstones are made of tiny sand grains that may have been deposited in the sea and later formed together. Most sandstones are made of quartz which are chemically-resistant minerals. This particular specimen was donated by Alfred Selwyn in 1868 as part of the Geological Survey of Victoria. It is connected to the original 1875 catalogue on Geological Specimen with number 189 'Quartz Crystals_Quartz Crystals (two are polished)'Dendrites on sandstones This specimen is an important contribution to the geological history of Victoria, as well as its links to the 1868 Geological Survey of Victoria. This specimen is part of larger collection of significant geological specimens in the Burke Museum that was collected from around the world between 1868-1880. A large percentage of these specimens were collection as part of the Geological Survey of Victoria 1852-1974. The Geological Survey of Victoria was an organisation founded in response to the Victorian gold rush to explore the geological and mineral resources and to record a detailed map of the state. It was headed by British geologist, Alfred Richard Cecil Selwyn (1824-1902), who was responsible for issuing over 60 geological maps during his 17 years as director. These maps were all hand-drawn and coloured and became the benchmark for accuracy for geological mapping. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study. A hand-sized slice of light brown sandstone with dendrites formed from crystallized manganese oxide.Existing label: Not sure what / 'Slica dondrites' / means. / Sample is sandstone and original label / identifies it as from / the Grampians near Stawell. / C. Willman / 15/4/21 Other label: [illegible] / stone [ illegible] / from Grampians Stawell / 1894 /geological specimen, geology, geology collection, burke museum, beechworth, dendrites, sandstones, quartz, lilydale district, geological survey of victoria, grampians, victoria rocks, minerals, rocks, manganese oxides, alfred selwyn

Depicts Zoo Horse Tram No. 100. Possibly from a purchased outline of the image which a person then sewed with wool.Demonstrates a hand made item depicting the zoo horse tram that operated in Melbourne.Hand made woolen tapestry (could be machine made) of a Zoo horse drawn Tram framed within a wooden frame. Paper backing with a brass hanging wire and two eye screws on either side of the frame. tramways, zoo tram, tapestry, souvenirs, memorabilia

Shows Glenferrie Road, near Linda St looking south, c1915 prior to the construction of the Railway overpass at Glenferrie Railway Station with H class tram 58 in the view. The tram line was constructed in 1913. It would appear that the level crossing gates are closed in the photograph. The building on the right-hand side by the horse-drawn cart was an ANZ bank until 2021. The closer building, a theatre (The Palace) has since been demolished and is now a Coles Supermarket. The level crossing was replaced with an overbridge in April 1916. The church in the background is the Immaculate Conception Church, without the spires - built after WW1. Yields information about the location, the streetscape and the tram, vehicles in use at the time. Black and white photograph of Glenferrie Road Glenferrie with tram H58, looking south near Linda St, c1915."RSCP 327" & "C1920s" in pencil on rear and H58 in red ink.tramways, trams, glenferrie road, hawthorn, streetscapes, h class, tram 58

Designed and constructed by Old Gippstown from materials at hand.A small square-shaped timber stable building with a gabled corrugated iron roof.old gippstown, west gippsland, gippsland, gippsland heritage park, goldfields, coal mine, victorian era, moe, historical village, stable, old gippstown heritage park, latrobe valley, horse drawn vehicles, latrobe city council

Postcard Album of Blanche Sly. Postcards stored in Folder 81 (49 postcards). 1403.1 - 1403.28 Grey linen look cover with picture of a small sailing boat pasted centre front pf cover. Partly torn sticker on lower LH corner. Blanche Victoria SLY Born: 11 Oct 1890, daughter of William and Hannah Sly Address: 1913; Loddon Vale Address: 1980; 100 Barnard Street Bendigo Died: Bendigo 12 June 1982, buried Bendigo G3 William Sly: Born: 1856 at Smythesdale, Victoria Married in Victoria in 1887; Hannah Theilman Died: Bendigo 1937, buried Bendigo G1 Hannah Sly Nee Theilman Born: 1866 Married in Victoria in 1887; William Sly Died: Bendigo 1948, buried Bendigo G3 See additional Research .Postcard Album of Blanche Sly containing 49 postcards. See 1403 B&W photo of the north station, La Gare du Nord, Amiens, France Busy street scene in front of the station. Pedestrians, horse drawn wagons and hand carts. Addressee - Blanche Sender - Pte F Olgaiti Dated 23/7/1916postcard, collector, blanche sly

Photograph: (copy of original). Photo of Stilwells Furniture and Hardware store. Two storey building with verandah with ornate ironwork. White Bath tub possibly used as a horse drinking trough out front, horse on left hand side, rear of horse drawn vehicle on RH side. Taken in 1880's ? Three men standing out front, dressed in shirtsleeves and waistcoats.business, stilwells, hardware, water trough, ironmomger

Demonstrates how the SEC used signage to communicate important information to staff.An enameled metal plate sign in an off-white colour, hand painted with black lettering. The sign reads "AIR BRAKE OPERATING END". The sign is curved, and all four corners have been angled. There is a hole in each of the corners to enable attachment to the tram cab. Horizontal lines have been drawn to ensure the even height and spacing of the lettering. The back of the sign has been painted a brass colour, although some of this has flaked off with wear. Two russet coloured stripes, 3mm and 12mm in width have been painted from top to bottom on the reverse. tramways sign, enameled tramway signage, hand-painted tramway sign

This six-postcard group is the seventh in a series of records of items in the collection of Edgar Dawson DCM. Dawson was the Regimental Sergeant Major of 57th Battalion, AIF. C Company of the 57th was composed of men drawn from Echuca, Eaglehawk and Bendigo. The postcards are from his personal album, and many are annotated in Dawson's hand with explanatory notes on the subject. Refer to Cat No 893 for his service details. Items originally in album cat. no. 207P These postcards illustrate the links between battalions, such as the 5th and 47th. 1. Group portrait of the Officers and NCOs of C Company, 47th Battalion. 47th Btn was drawn from Queensland and Tasmania, and C company was primarily Queenslanders. 2. Group photo of the signallers and stretcher bearers of 5th Battalion. Dawson note that Josiah and Norman Rolls, from Golden Square in Bendigo, are in photograph. 3. Group photograph of 57th Battalion medal recipients taken outside Exeter cathedral. 4. 57th Btn band 5 HQ Pioneers, 57th Btn, 8th of October 1917. Dawson notes that the man front row extreme right is 50 years old. 6. Group photo of some officers of the 57th Btn 1. On verso "A.R. Tweddell, 47th Battalion, C Company A.I.F" 2. On Verso "This is a group photograph signallers 5th Battalion Jo and Norm Rolls" 3. "Group taken in Exeter at a a presentation of medals" 4. "This is our band can you pick out Bob Scott" 5. "This is our HQ pioneers who do all our building. The chap on the front row right is fifty years of age and came away with the first contingent. Also the corporal, sergeant and two left had men rear rank" 6. "This is a photo of some of the officers of our battalion. Colonel J.C. Stewart centre, Major R.M. Cotheson on left, Captain Laing M.C. on right. Will tell you the rest when I get home"postcards, 57th battalion, edgar dawson dcm

A surveyor was employed to measure the land designated as Yangery, County of Villiers, in the Borough of Warrnambool. The area on the map is similar to the earlier Farnham Survey undertaken by William Rutledge in the 1850's. Warrnambool was a Borough between 1863-1883. Coutours, waterways, sea and other significant points are shown. The distances are accurately measured. This survey map was used for planning future land sales, recreation areas and roads. WILLIAM RUTLEDGE (1806-1876) William Rutledge surveyed the land known as Farnham in southwest Victoria in 1843. His tenants made him a profitable business from working the land there. In 1863 Rutledge moved from nearby Port Fairy to Farnham and became very successful in breeding sheep, which he imported from J.R. Kirkham of Lincolnshire, England. He also bred horses on his land. The survey map of Yangery is important for its connection with renowned surveyor William Rutledge. The map shows the growth of landholders in the district when compared to the original Rutledge survey of the 1850's.Survey map of Yangery, titled "Yangery - County of Villiers". Printed on white paper, mounted on brown paper. c. 1863-1876. Comments printed on the Map include; Special Survey by William Rutledge, Photo-lithographed at the Department of Lands and Survey, Melbourne by W.J. Burson, Price 1/- [one shilling]. Scale is in Chains. Map has boundaries of Koroit Borough, Meerai, Purnim, Wangoom, Borough of Warrnambool, Mentions the Proposal of Tower HIll for Public Recreation. The map names the owners of the land at that time. Hand written pencil marks and figures and "Sauls fence" drawn on map. Hand written pencil markes and figures and "Sauls fence" drawn onto map. "For Department Use only". "Scale: 8 chains to 1 inch" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, county of villiers map, yangery district, w.j. burson, borough of warrnambool, koroit, purnim, meerai, wangoom, proposal of tower hill for public recreation, special survey by william rutledge, william rutledge, farnham, lincolnshire sheep, clydesdale

Printed black and white postcard of Charing Cross Bendigo with three trams in the view and several horse-drawn cabs. Has Town Hall and other buildings in the background. See item 3451 for a similar photograph with a different crop, produced for the visit of The American fleed in 1908. The card was printed in Saxony, Germany.Yields information about Charing Cross Bendigo and ESCo trams.Postcard - black and white, divided back, used as a letter.Hand written letter on rear.tramways, trams, bendigo, charing cross

BHS CollectionPhoto of Hanro Staff: Black and white photo with three ladies adjusting a dress on the centre lady. The dress has an open collar with two buttons at the front and three darts at the waist either side of the buttons. The long sleeves are gathered at the cuff, the dress is slightly gathered at the waist and supporting a belt. The lady to the left is wearing a two toned blouse with three quarter puff sleeves and turned up cuffs and is buttoned up the front. She is wearing a flared skirt the same material as the trim on the blouse, a dark coloured belt drawn together with cord at the front. At the right the lady is wearing a long sleeved cardigan with three buttons at the bottom. Underneath is a horizontal striped pullover She is wearing a pleated flared skirt with a belt at the waist. The ladies are standing against a wall of wood panelling.. On the back of the photo hand written in pencil is the work *Shirley* and *Copyright 'Bendigo Advertiser' Bendigo Advertiser Photographic Service. For re-order quote CK245* Box 116ABendigo Advertiser Photography Servicephotograph, person, hanro, bendigo advertiser photography service. hanro

Set of 6 A4 sheets, stapled in the top left hand corner, listing on a wiring table the various terminals, locations wiring for the W class tram conversion project - 1994. Has many notes, particularly on the first page.Drawings has notes, red lines on the first sheet.trams, tramways, w class, one man trams, conversion, electrical equipment, driver only modifications

Framed print - of MMTB No. 467, X1 class tram, drawn by Carl Segnit, side on view printed on white card, with MMTB logo, mounted in a black plastic frame, with Perspex front, with a clip on heavy card (wood product) backing. IN the bottom right hand corner in red print is "1/99" with the artists signature underneath.trams, tramways, x1 class, drawings, tram 467

Compact Diskette with video (DVD), titled "Opening of the Prahran" - in a black plastic case with a black back and insert of the National Film & Sound Archive Australia, titled "Opening of the Prahran". Gives information on the client, length and date of transfer. Video from film by Johnson and Gibson, titled the "Opening Prahran and Malvern Tramway " features people speaking from a spiral staircase, trams No. 1, 2 and 3 running out of the depot, 12 in Glenferrie Road, lots of people views, horse drawn bus 6 with Mayor, 6 with Mayor getting off, single track, driver. Second film with countdown strip as for above. Same as chapter 3 of Reg item 925. Has copyright restrictions. .2 - three A4 sheets, stapled in the top left hand corner and folded into 8. Located within the CD folder. Gives details of the National Film & Sound Archive Australia, Usage agreement, contact names, approved use, fees, acceptance by Colin Tyrus of Yarra trams and a schedule of materials.trams, tramways, pmtt, opening, yarra trams, malvern depot, centenaries, films

Hand made woollen tapestry (could be machine made) of a Zoo horse drawn Tram framed within a wooden frame. Paper backing with a cotton hanging strip stapled into the sides of the frame. Frame by the Glen Waverley Picture Framing, 698 High St Road, Glen Waverley. C1980.On rear in ink at the top - "Donated to Hawthorn Tram Museum Feb. 19th 2012 Ron Scholten"trams, tramways, zoo tram, tapestry, souvenirs, memorabilia, tram 100

Postcard photo of Bourke St looking east from about half way between Elizabeth and Queen St with the Melbourne GPO, Post Office in the middle of the photograph, along with a number of horse drawn vehicles and cable trams. mid 1900's (c1905). Divided back with spaces for Correspondence, address and stamp. On right hand side in red "Marlborough Series" (Printed in Australia)trams, tramways, cable trams, bourke st, horse drawn vehicle

Postcard - photo of Chapel St Prahran looking south along Chapel St towards the intersection with Commercial Road with the Jacob Read drapery business or the Charles Moore and Company department store - now the Pran Central complex in the view. Has a number of horse drawn vehicles, some motor cars and a cable tram in the view. Divided back with spaces for Correspondence, address and stamp. Stamp area has "Printed in county of Saxony" and number 3949 in bottom right hand corner. Published by Valentines & Sons Publishing Co. Melbourne and Sydney.trams, tramways, cable trams, commercial rd, malvern rd, chapel st, horse drawn vehicle

Photograph of Flinders St looking east from Swanston St - shows the entrance to Flinders St station prior to the construction of the current building. In the view are one cable tram, many pedestrians and some horse-drawn vehicles. A hoarding on the left hand side possibly indicates work is underway on the new station building. A sign on the pole advises that cable trams went to Spencer St for a penny and for 3d to Port Melbourne or South Melbourne. In the background are buildings for Sargood Bros, Thomas Whitelaw Home Decorators, The Hub, a sign on the Young & Jackson Hotel advertising a Women's Exhibition. There is a telephone pole line on the south side of Flinders St.Yields information about Flinders St, c1905.Black and white photograph on paper.In pencil on rear "163 OB"trams, tramways, cable trams, flinders st, flinders st station