Considered the best of the early mud-brick houses built by Alistair Knox. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p143 The Busst house hidden by trees at the corner of Silver Street and Kerrie Crescent is considered the best of the early mud-brick houses built by Eltham architect, Alistair Knox. Knox himself said, that the Busst house was the most mature mud-brick house designed at that period. ‘It related with true understanding to its steep site and expressed the flexibility of earth building ………to develop a new sense of flowing form and shape’. Built in 1948 for artist Phyl Busst, a former art student at Montsalvat, the house helped usher in Eltham Shire’s distinctive mud-brick residential character. Knox was the pivotal figure of the style developed from the 1950s to the 1970s. Scarcity of building materials after World War Two encouraged mud-brick building because earth was a cheap and plentiful building medium. But when Knox began building in mud-brick in 1947, no council in Victoria knew anything of this ancient art and he needed a permit. Fortunately the Commonwealth Experimental Building Station at Ryde in NSW, had been experimenting with earth construction to help overcome the shortages of that time. They published a pamphlet that became available in Melbourne on the same day the Eltham Council was to consider whether the earth building should be allowed. Knox caught one of the three morning trains to the city in those days and bought several copies of the pamphlet to give to each councillor. On his return he found the councillors standing on the steps of the shire offices after lunch at the local hotel. He heard that earth building had been discussed before lunch and that they were not in favor of it. Knox gave each councillor a pamphlet. They passed that plan and by doing so, opened the door for all future earth building in Victoria and by default, in Australia. Mud-brick houses attracted artists to Eltham, for their aesthetic appeal and because they were cheap. Those who built their own houses, included film maker Tim Burstall, artists Peter Glass, Clifton Pugh, Matcham Skipper, Sonia Skipper and husband Jo Hannan. For Knox, mud-brick building was more than just a cheap building medium. He saw it as harmonising with the surrounding bush and as a way of counteracting the growing materialism of the age. He wrote of its impact on ‘ 20th century man. It should counteract the confusion that the perpetual flow of high technology products have upon him ..’ Building the Busst house on a steep site was difficult because most earth-moving equipment was then in its infancy. For instance drilling for explosives was done by hand, which was a slow and painful process. Knox, assisted by his foreman Horrie Judd and Gordon Ford (who was to become a famous landscape designer), built two large main rooms - a living room/ kitchen downstairs - and upstairs, a studio/bedroom. The studio/bedroom opens onto the balcony, which covers the living area. The bath made of solid concrete by stonemason Jack Fabro, is particularly deep. Sunshine pours through the three French windows of the north-east facing kitchen/living area, which is lined with timber. The large hearth can fit a family around the fire while the timber floors and solomite (compressed straw) ceilings add to the cosy atmosphere. The garden is thick with trees, and in the late 1990s, Ford put in a pool near the original dry wall he had built as a young man.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, alistair knox, alistair knox design, busst house, kerrie crescent, mudbrick construction, mudbrick houses, silver street

"LARGE GATHERINGNG AT - CROSSLEY DEDICATION AND OPENING SERVICES. SERMON BY DR. MANNIX. Yesterday was an important and historic day for the Roman Catholic community of Crossley and Koroit, in as much as it will be always associated in the memories of all con cerned with the opening of the new St. Brigid's Church, Crossley. This building is far above the average standard of sacred edifices in country towns, and is certainly superior to any ercted in this district outside the churches in the two larger centres - Warrnambool and Koroit. The style of architecture chosen is a free treatment of the Romanesque, which is something quite original in the Western District. This noble style, from which, with its near re lative the Byzantine, spring the great Gothic school of architecture, is characterised by a special charm of its own, one of its chief features being graceful and sweeping circular curves in roof, window heads and in the ar rangenent of the ground plan. The building is of brick finished off with true Romanesqiue pillared pinnacles in concrete and plaster, the brick and concrete producing a pleasing contrast. The main characteristic of the front is a large rose window filled with Romlanesque circular tracery, and below a bold porch and entrance. The two sides are pierced with long circular-headed windows between graceful buttresses and the wall line is pleasingly broken by the projecting bays of the confessionals and also by the vestries. The main building is 80 feet by 30 feet' and the Sanctuary is spacious and semi-circular in shape, and lighted by three windows. The interior of the church is most artistic. The ceiling is semi-circular and of fibrous plaster in ornate designs. All the windows are lead lighted, throwing a rich and mellow harmony of' color throughout the interior and the white wails, mouldings, architraves and other fibrous plaster decorations: are further relieved by the rich coloring: in the stations of.the Cross arrranged around the nave. The central window of the Sanctuary contains a splendidly executed stained glass representation of St. Brigid. At.the western end is a room gallery. The altar is a choice piece of Gothic woodwork, in light, soft coloring, and there are two altars on either side of the Sanctuary in oak, and above whlch are very fine colored figures of Christ; and the Madonna. On either side of the altar are life-size figures of angels holding high brass candalabra. The whole of the furnishings of the church are on a sumptuous scale, and the edifice reflects credit on all concerned. The church can seat nearly 500 people. The architect was Mr. A. A. Fritsch. of Melbourne, and the contractors Messrs F. and E. Deagne, of North Fitzroy. The contract price for the building was £5,500. THE OPENING SERVICE. After the cereimony of solemnly blesssing the church was performed by His Lordship the Bishop of the Diocese, Dr. Higgins, assisted by His Grace the Coadjutor Archbishop of Melbourne. Dr. Mannix, the great gatheiring from all parts of the district entered the church, which was soon completely filled. The members of the H.A.C.B.S. attended wearing their green and gold regalia, and acted as a 'guard of honor' to the Co-adjlutor Arclhbishop and Bishop. Mass was celebrated by the Rev. Father Phelan, of Koroit, and a feature of the solemn service was the singing of a choir which consisted of picked voices from St. Carthage's choir, with friends from Warrnam bool and assisted by some of the mem bers of the Koroit choir, with Miss Logan as organist and Mr. Arthur H. Renwick as conductor. They rendered the music in splendid style throghonut. The "Kyrie," "Gloria." "Agnus Dei' and Dona Nobis" were from Farmer's Mass in B flat, and the "Credo" and "Sanctus" from Webbe's Mass in G. The soloists in the Mass were Mrs. Ryan, the Misses McEntee. Miss Katie O'Brien. and Messrs. J. M. Crowley, W. J. Callaghan; B. McEntee and W. Mahony. The chorus sang with great precision, special attention being paid to at tack. At the offertory Mrs. Dan Ryan gave a beautiful rendering of Gounod's "Ava Maria." After the Elevation that fine duet "Tantum Ergo." by Rossi, was sung by Messrs. Crowley and Renwick in an artistic manner, their fine voices blending splendidly. During the collection, Mr. Renwick sang with much feeling that devotional solo, "Lead Thou Me On,", after which Mr Crowley gave .an ex cellent rendering of Weissi's "0 Salu taris Hostia;" and the choir sang several hymns." It might here be mentioned that at the request of Fa ther Kerin, the same choir will repeat the music.at the Koroit Church on Sunday next, on the occasion of the ceremnly of laying the foundation stone of the cormpletion of the church. Dr. Mannix preachled the sermon for the occasion, taking his text from St. Luke first 11 verses. He re viewed the Gospel story of Christ preaching to the multitude from a boat on Lake Gennesaret and the miraculous draught of fish. The obedi ence of the poor fishermen in casting their nets at Christ's bidding was richly rewarded, and the miraculous occurrence was a striking example of what was to happen when Christ established His Church and built it up on those twelve apostles. When they came to think of it, nothing so re markable and marvellous had happened before or since in the history of mankind. The world at that time was for the most part a Pagan world steeped in iniquity and sin. The chosen people of God had God's re velation, but they worshipped with their lips and not with their hearts. When Christ was to establish His Church upon earth and leave an or gantisation that would continue His work, did He select learned men, powerful men, rich men, or a time that would seem propituous? No. He selected twelve poor, igorant simple fishermen, without money, power, learning or anything calculated to enable them to do anything striking in the world's history. The success of the first morning after pentecost was not confined to those first days when the plentitude of the Holy Ghost sat upon the .Apostles, but it continued age after age until the whole world was brought within the sphere of ac tion of the Church. Greece, Rome Europe Asia and America, and now Australia had been brought into the net. This must be a consolation to them all as well as it was to him (the preacher), when they remembered that they came from a land which of all others had been faithful to the Gospel of Jesus Christ. It was a consolation to them that in that great work that had been accomplished in bringing men into the meshes of the Church, and bringing them to God the nation to which they belontged had taken so great a part. Their religion flourished in England, Scotland, America and Australia. Surely it was due to the sons of St. Patrick, the sons and daughters of Ireland to find consolation in these great facts might It might seem hard that so many had to leave their native-land for England, Scotland, America and Australia. But if hard it was the means of keeping the Catholic faith living in England and Scotland. If to-day the Irish Catholics and Catholics of Irish de scent were taken out of the English and Scotch population there would be little left of the true Church of God. It seemed hard to emigrate to distant lands, but the result had been the new magnificent church in the United States, the flourishing churches in Canada and South Africa. Those Irish emigrants were a cornparatively small band. Perhaps they had not the learning of other nations. Certainly they had not the wealth and it did not fall to their lot to have the power of the sword, but God was with them, and the faith they took from Ireland flourished in those distant lands. In this fair land of Australia they had a glorious herit age handed down from the pioneer Irish Catholics, who came to this fair Austral land. There was a time when those who were opposed to God and God's Church,thought that Australia should be a wholly Protestant land. They had lived to see whether God or His enemies were the stronger. They had lived to see that those who in distant days would have stamped out the Catholic religion in Australia, had not prevailed. Their names had been forgotten because of their persecution of the Catholic Church, and they had lived - to see the glorious success that now, in every part of the Common wealth, rested upon the Catholic Church in Australia. Might God bless that Church and those Irish people, and the people of Irish descent, who had built it up. In that locality, and there was no place in.the Common wealth where the Catholic Church was held in higher esteem, the people would always be faithful to God and His Church. That beautiful building, and all it signified in loyalty and faithfulness, was a credit and a consolation to the Bishop and people of the diocese, to the architect who had done his work so artistically and skil fully. to the priests and the zealous administration of the parish. There was surely hope and inspiration in that day's celebration, that as time went on the Catholic faith would sink deeper and deeper into ther coming generation, and that the Catholic progress of the past 50 years would be small in comparison to the great progress of the future. He congratulated the Bishop priests and people who had raised that temple. He congratulated the people of Crossley; upon their generosity and self-sacrifice, and he prayed that God's blessing and the blessing of St. Brigid would rest upon them; their children and children's children. And when those who had received the sacraments and had been instructed in that Church were called before the Judgment Seat he pray ed that not one would be missing, and St. Peter aind St. Brigid would be able to count them all into the en joyment .of Eternal bliss. THE CELEBRATION The Rev. Father Kerin, Adninistra tor of the Parish, after the collection, read a lengthy list of the principal donations, headed by the Bishop, Dr. Higgins, with £250. All the furnish ings of the Church were also donations, and the Coadjutor-Archbishop added £5 to the list. The Rev. Father Kerin stated that the total to hand was £1245/10/7, which was an other proof of the generosity of the Crossley and district people. The amount previously received in donations was £1077/3. They started buildiing with a credit balance of £262 10/5 and ther now had a debit balance of £2,728/18/5. The total cost of the Church was £6,250, so that they would see the greater part of the indebtedness had already been wiped out. The Bishop (Dr. Higgins) delivered a brief address, in the course of which he congratulated the priests and people upon the completion of their magnificent Church. He congratulated the people on their magnificent generosity. He expressed his of deep indebtedness to the Coadjutor Archbishop of Melbourne for the services he had rendered to them. He had attended at considerable sacrifice to himself, and they were extremely grateful for the presence of so distinguished a champion who had shown such zeal and interest in their Church in this new land. He (the Bishop) trusted that his splendid talents would long be devoted to the defence of the Church." (Warrnambul Standard, 02 July 1914)Digital panoramic image of the interior of St Brigid's Crossley.st brigid's crossley, st brigid's, catholic church, catholic, church, community, ceiling, stations of the cross, confessional, statues, windows

This baker’s wagon or cart transported and delivered bread and other baked goods in the Warrnambool area. It currently has advertising for H.H. Smith & Co. Henry Huntington Smith (1857-1941) owned and operated his Warrnambool bakery in the late 19th and early 20th century. However, the design of the wagon is similar to those used by local bakers in the 1930s and 1940s and probably originated from Stephenson’s Bakery in Warrnambool, which operated around that time. The wagon’s original internal shelves were removed in the early days of Flagstaff Hill so that children could have rides around the village in a horse-driven cart. BAKERS’ HISTORY There were many bakeries in Warrnambool in the 19th to mid-20th century. Each bread bakery made horse and cart deliveries in its allocated zone. SMITH’S BAKERY; – as shown on the wagon’s signage. Henry Huntington Smith (1857-1941) was born and educated in Warrnambool. He worked at Davis’ steam biscuit factory in Timor Street before he began his own bakery business in 1885 near the corner of Fairy and Koroit Streets. A few years later Smith built a new bakery on the corner of Fairy and Lava Street where it still stands today (2025) as Monaghan’s Pharmacy. The building was designed by James McLeod in 1892 as a bakehouse, shop and residence for Smith The address was known locally as Smith’s Corner. Next door to the bakery, at 136 Fairy Street, were stables built by Jobbins and McLeod in 1886 for William Cust. A photograph in the archives of the Warrnambool and District Historical Society shows the 1892 building with four fancy horse-drawn wagons on the street with white-clad drivers and a promotional stand erected with 5 bakers in uniform and the signage “H H Smith & Co, Pastry Cooks and Confectioners”. One of the wagons appears to have “H H Smith” painted on the side. H.H. Smith & Co. placed an Advertisement in the Weekly Times in December 1896 promoting its business as bakers, confectioners and pastry cooks, praising their shop as an ‘ornament to the town’ with ‘neat appointments’ and ‘dainty decorations’. It also boasted of supplying a large number of customers within a twelve-mile radius of Warrnambool. In November 1919 The Warrnambool Standard announced the marriage of Henry H Smith, Mayor of Warrnambool, to Jeannie Samson-Goodman in East Adelaide. In the same newspaper was a notice that Frank Crossley was to open as baker and pastry cook in H.H. Smith’s premises. As well as being the proprietor of the H.H. Smith Bakery, Henry Huntington Smith was a Councillor for the Warrnambool Municipality from 1913 to 1937 and Mayer for two terms. In December 1919 during his first term as Mayor, he was honoured for the work he had done with returning soldiers after World War I, receiving a document in recognition of this work, presented by the Mothers, Wives and Sisters of returned soldiers. Smith was very interested and involved in the community in many roles, including being the Vice President of the first Warrnambool and District Historical Society. STEPHENSON’S BAKERY: – believed to be the past owner of the wagon. The last owner of the bakery was Harold Stephenson. Stephenson was enlisted in the A.I.F. and was invalided home in 1943 before the end of the Second World War. He also served as a Councillor from 1958 to 1976, during which time he served six terms as Mayor for the City of Warrnambool (1966-1973) while he had the bakery. He was very involved in many local organisations including the Warrnambool Surf Life Saving Club and the Road Race Committee. He died in 1985, lauded as being one of Warrnambool’s “most distinguished civic leaders”. It has been said that the baker injured in World War II invented a special contraption to enable him to get up into the wagon and that he alerted his customers that he was in their vicinity by blowing a whistle. The customers would come out and choose their bread from the back of his wagon then pay him for it. However, another account is given by a man who once earned pocket money by helping the baker on his rounds. He says that it was Stephenson, the owner and manager of the bakery, and not the delivery baker who received a significant injury during the war, making him unable to climb the stairs of his upstairs accommodation at the bakery, therefore causing him to sleep downstairs. At this time in the early to late 1940 Stephenson’s bakery had three wagons, one for each of the delivery rounds. The wagons were painted black and yellow. Two of the drivers were Stan Lake and Ali (Alec) Dean who both had wagons with the covered cabin design. The third driver was Bill Lake who had a flat wagon. Stan Lake delivered in the area around Lava and Koroit Streets, Ali Dean had another round and Bill Lake had the Dennington area. Bread continued to be delivered into the 1960s but by this time the delivery vehicles were motorised. The goods produced at Stephenson’s bakery included bread baked in different shaped tins such as High Tin, Sandwich and Vienna. Some shapes were easily divided into half by breaking them apart, therefore the baker could make two-quarter loaves from a half loaf, satisfying different needs. There was the option of white or brown bread, sweet buns, fruit buns and Boston buns. The baker’s assistant was known to take great delight in ‘trimming’ the broken halves of excess bread and crust, enjoying his treat. THE BAKERY PREMISES: – Southeast corner of Fairy and Lava Streets, Warrnambool. The building retains the original cast iron veranda. Above the veranda, a motif of a wheat sheaf in ornamental plaster can be seen. Inside the building, there are still some of the original fittings. The building was classified by the National Trust in August 1979. After the Second World War, an official system of zoning was introduced as a fair way for the baking industry to operate. In 1949 different pricing was introduced by the Government for either delivered or retail purchased bread. Many of the small local bakeries went out of business after the Government banned zoning. The way was made open for the larger bread manufacturers to enter the local market with cheaper prices. Some of those companies were Mc Queens, Tip Top, Twisties, and Sunicrust, (Mc Queens ‘new’ bakery building was where the current Toyworld shop now stands, is, in the Ozone carpark.) O’Grady’s Bakery, later changing hands and known as Burkes Bakery, was on Fairy Street near the Timor Street intersection, on the North West side. There was also a bakery named Almay. The baker’s wagon is significant because of its association with H.H. Smith’s Bakery in Warrnambool.. The H.H. Smith’s Bakery building on the corner of Fairy and Lava Streets, built in 1892, is classified by the National Trust, August 1979. Smith Street Warrnambool was named after Henry Huntington Smith, who was a Warrnambool Councillor 1913 – 1937 and Mayor 1919 – 1921. Baker’s wagon, often referred to as a baker’s cart. Four wheeled horse-drawn delivery wagon, front wheels smaller than rear wheels. Wagon is clad with metal sheets and lined with varnished timber panels. Wheels have metal rims, wooden spokes and rear wheels have wooden brake pads. Horse shaft is timber with metal fittings. Front has a metal lamp holder, brake lever, metal hand grips and decorative metal foot plates. The wagon has suspension leaves on back and sides and double suspension leaves on the front. Driver’s area at front has a roof, glass side windows and wooden box seat with hinged compartment accessing wagon storage area. Door above back of seat has buckled leather handgrip strap attached, door slides open for access to wagon area. Back of wagon has a wooden step and a split door; top door has ventilation louvers, both doors have metal latches. Wagon is painted cream with brown trim and signage and green step. Remnants of red and green paint are visible; underside of seat panel is painted grey. Wagon advertises H.H. Smith & Co. Baker, a Warrnambool business established in 1885, but is of a more modern design seen around 1930’s and 1940’s and most likely belonging to Stephenson's bakery. Brown signwriting on sides of wagon “H.R. SMITH & CO. / BAKER” Brown signwriting across front of wagon “BAKER” warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, baker’s wagon, h.h. smith baker, warrnambool, henry h smith, jeannie samson-goodman, frank crossley, mayor of city of warrnambool, vice president of warrnambool and district historical society, stephenson’s bakery warrnambool, harold stephenson, warrnambool surf life saving club, road race committee, national trust building, stan lake, bill lake, ali dean, 19th and 20th century bakers, davies steam biscuit factory warrnambool, james mcleod building designer, jobbins and mcleod, william cust, h h smith & co, pastry cooks and confectioners, bakery trade, bread delivery wagon

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. All cards have titles on the front printed in red. The majority of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Proudfoots Boat House – Proudfoot’s Boathouse is at 2 Simpson Street Warrnambool, on the banks of the Hopkins River. In the 1880s it was a venue for hiring boats for rowing, fishing, sailing and picnics. It was a popular destination for tourists coming from Melbourne for a day or weekend outing. The beautiful historic Victorian period building was designed, built and established by Thomas Proudfoot. He applied to build a boat jetty in 1885. He died in 1900 and his wife Catherine took over, running it for many years. Later her son Bruce and after that her granddaughter Ena Hunt and her husband took over; it remained in the family until 1979. The buildings, including the ‘U’ shaped jetty and tearooms, were restored and modified in the 1990s by the Warrnambool Sports Club, under the control of the Warrnambool City Council. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time, he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This card is the only one of the nine cards with the location of Warrnambool added to the name 'Joseph Series'. It is also the only one that has text within the outline for the postage stamp. The font used for the test of the headings is slightly different to the other cards. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool. This postcard of Proudfoot's Boathouse is of historical significance for is connection with Proudfood’s Boathouse. Proudfoot’s Boathouse is an example of late-Victorian recreational and tourist facilities. Boathouses were popular 19th-century tourist and recreational attractions, providing refined and healthy activity. This boathouse shows the early realisation of the tourism and leisure potential of seaside towns such as Warrnambool, a potential that has become increasingly important as port uses have ceased and other industries have been subjected to financial pressure. Proudfoot's Boathouse is of social significance because it illustrates the continuity of the attraction of this kind of leisure facility. Although the glory days of boathouses were in the 19th century, those that survive continue to be well patronised. Proudfoot's Boathouse has been an important recreational facility and attraction for tourists flocking to the Hopkins River, one of the State's most popular boating and fishing resorts, since 1885.” (Statement of Significance is from the Victorian Heritage Register)Postcard, one of nine, landscape orientation. Coloured photograph print within an oval border and mauve-toned shading. Cameo Image of figures in three rowing boats on still water beside a building with three gable roofs and decorative verandas. Other boats are moored at the landing in front of the building. The roofs each have a tall pole at the front. There is a park right of the building that also has a landing. In the background is a grassed slope and the sea. Reverse has printed inscriptions and an outline for a postage stamp. There is no correspondence written on the card. The card is one of the Jordan Series by Joseph Jordan, printed in Great Britain in the early 1900s. Front, in red: “PROUDFOOT’S BOAT HOUSE / HOPKINS RIVER, WARRNAMBOOL” Reverse in black: “Jordan Series Warrnambool” “POST CARD” “Printed in Great Britain” “This space may be used for Communication” “The Address to be written here” Within the stamp outline: “3 / BRITISH / MANUFACTURE"flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, proudfoots boat house, boat house, proudfoots, hopkins river, boats for hire, row boats, recreation

Framed portrait of George Maxwell who was President of the Association for the Advancement of the Blind 1920-1935. It is part of a series of paintings commissioned by the AFB Board to commemorate the work of past presidents of the organisation. Mr Maxwell is turned slightly away from the viewer, and wears a blue suit, white high collared shirt and a blue tie. George Maxwell was President of Vision Australia from 1920 to 1935. After an early teaching career he studied law, was admitted to the Bar and became one of Victoria’s great criminal lawyers and later a Federal Member of Parliament. He took an interest the welfare of blind people from his student days. A detached retina in 1920 led to total blindness nine years later, which gave him a great empathy for those with a similar affliction. Through his contacts he was also instrumental in obtaining the first voting rights for blind Australians. Up until 1902 blind people were unable to vote if they couldn’t write with a pen. George Maxwell was working at that time at the legal firm of Strongman and Crouch one of the partners, Mr. Crouch, was elected as a member of Parliament. When the Commonwealth Electoral Bill was being drafted, Mr. Crouch has a clause added enabling blind people to vote in Federal elections, constituting a world first. But perhaps his greatest achievement was obtaining the pension for legally blind people. Until 1910 only those who met the age and means test criteria were eligible. With the help of his legal and political friends a bill was passed which granted the pension to all persons over 16 years of age who were unable to work due to physical disability or blindness. Until this time these people had to be supported by their families or go to a benevolent institution. This was a world first and gave to blind and vision impaired people a measure of independence which increased both their self reliance and self esteem. 1 art original in gold/brown frameThe plaque at the base of the painting reads 'Honourable George A Maxwell Q.C. / President 1920-1935 / Association for Advancement of the Blind'.association for the advancement of the blind, george maxwell

HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Painting of 1873 sailing ship the "Loch Ard". Oil painting on board behind glass, framed in white painted timber. Artist is C Smith. Inscription on back. "Loch Ard launched 1873, sunk near Pt Campbell, with loss of 52 lives 1878" "C. Smith" "Loch Ard" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, loch ard gorge, maritime oil painting, c. smith, sailing vessel

This boat or dinghy is one of a few remaining boats made for Proudfoot’s Boathouse, 2 Simpson Street Warrnambool, on the Hopkins River, in about 1885. It was one of many rowing, fishing, sailing and picnic boats that were available to hire. Proudfoot’s Boathouse, a beautiful Victorian Period building, was designed, built and established by Thomas Proudfoot. He applied to build a boat jetty in 1885. He died in 1900 and his wife Catherine took over, running it for many years. Later her son Bruce and after that her granddaughter Ena Hunt and her husband took over; it remained in the family until 1979. Proudfoot’s was a very popular tourist destination for visitors coming from Melbourne to fish and row and enjoy afternoon tea. The buildings, including the ‘U’ shaped jetty and tearooms, were restored and modified in the 1990s by the Warrnambool Sports Club, under the control of the Warrnambool City Council. The dinghy was brought to Flagstaff Hill in about 1992 and restored to its original condition and painted in traditional paint colours of orange with dark green gunnel and black and gold pinstripes. Since that time it has been painted by Flagstaff Hill's boatbuilder.This dinghy, Proudfoot’s Boat, is significant for its association with Proudfoot’s Boathouse, which is listed on the Victorian Heritage Register, VHR H0620. “Proudfoot's Boathouse on the Hopkins River near Warrnambool is an outstanding example of a late-19th century boathouse complex with associated residences and jetties. Thomas Proudfoot first applied for a jetty licence in 1885 with a view to establishing a boating business on the Hopkins River. The early single-storey sections are thought to date from this period. The two storey second stage probably dates from 1893 when additions were constructed. The entire complex was designed and built by Proudfoot himself. The business remained in the Proudfoot family until 1979. The buildings were modified in the 1990s in the process of creating a sporting club on the site. Proudfoot's Boathouse is of architectural, historical and social significance to the State of Victoria. Proudfoot's Boathouse is of architectural significance as perhaps the finest example of a 19th-century boathouse in Victoria. Although recent modifications have reduced the intactness of the buildings, many original features remain. The beautifully ornamented buildings still provide an attractive instance of 19th-century leisure facility architecture. Proudfoot's Boathouse is of historical significance as an example of late-Victorian recreational and tourist facilities. Boathouses were popular 19th-century tourist and recreational attractions, providing refined and healthy activity. This boathouse shows the early realisation of the tourism and leisure potential of seaside towns such as Warrnambool, a potential that has become increasingly important as port uses have ceased and other industries have been subjected to financial pressure. Proudfoot's Boathouse is of social significance because it illustrates the continuity of the attraction of this kind of leisure facility. Although the glory days of the boathouse were in the 19th century, those that survive continue to be well patronised. Proudfoot's Boathouse has been an important recreational facility and attraction for tourists flocking to the Hopkins River, one of the State's most popular boating and fishing resorts, since 1885.” (Statement of Significance is from the Victorian Heritage Register)Wooden vessel or boat, called a dinghy, known as Proudfoot’s Boat. Paint work is orange with dark green gunnel and black stripe. The rowboat is propelled by oars and has two pair of thole set into the gunnel (gunwale) to hold the oars in place and to serve as a fulcrum when rowing. The boat is dated around 1885. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, small marine vessel, dinghy, proudfoot's boat, proudfoot's boathouse, picnic boat, orange and black boat

Listening to the landscape is a project in sound, made from recordings and interviews collected in and around the Shire of Eltham over the course of 12 months which were published in 1989. Thirty people, all of whom have lived or worked around the region most of their lives, were interviewed. There are six "channels" of stories: 1. Getting around - 2. "they were the wildflowers - we used to pick armfuls of them in those days" - 3."Up around Kinglake" - 4. "But it was home and no-one could put us out of it" - 5. "It was all orchards" - 6. "gradually the houses came". Each with a slightly different theme. The stories are supported by environmental and historical sound recordings. Tapes converted to three CDs - titled "Getting around" - Armful of flowers" and "Up around Kinglake" which includes the six "channels".Master recordings on three compact cassette audio tapes, TDK AD46. Each tape labeled with the recording track in red ink and Dolby B Noise Reduction activated) also in black ink copyright Duncan King-Smith 1989 Copy 1 Channel 2: Armfuls of Wildflowers Channel 4: “It was home . . .” Copy 2 Channel 1: Getting around Channel 6: “Gradually the houses came . . . ” Copy 3 Channel 3: Up around Kinglake Channel 5: “ . . it was all orchards.” Also commercial compact cassettes and CD formats held and information booklet. Converted to mp3 format from CD 1 - Getting Around; 17:17, 23.7 MB, 192kbs 2 - Gradually the houses came; 17:32, 24.0 MB, 192kbs 3 - Up around Kinglake; 23:31, 32.3 MB, 192kbs 4 - It was all orchards; 23:52, 32.7 MB, 192kbs 5 - Armful of wild flowers; 20:38, 28.3 MB, 192kbs 6 - But it was home, and no-one could put us out of it; 20:58, 28.8 MB, 192kbsaudio cassette, audio recording, duncan king-smith, eltham, listening to the landscape, compact disc, oral history, shire of eltham archives, series 45

Illustrated book with dustjacket. Book has a brown cover with abbreviated title and authors name embossed in gold on spine. Dust jacket has a coloured black and white photograph of a nurse in uniform holding an umbrella, book and pencil with tents in the background: Grace Wilson on the Aegean Island of Lemnos, 1915. Full title is printed in white and gold on front along with the author's name in gold. Abbreviated title is printed in brown and gold on spine, along with the author's name and publishers mark in whitenon-fictionUsing diaries and letters the author takes us into the hospital camps, the wards and the tent surgeries on the edge of some of the most horrific battlefronts of human history. He also showed how the friendships and loves of these courageous and compassionate women enriched their experiences.australia army-nurses, military nursing-australia, world war 1914-1918 - medical care, world war 1914-1918-female participation, nurses

.1 This is a hard cover book of 372 pages with a blue cover and silver printing on the spine. The dust cover has a white and blue background with a photograph of a 19th century policeman, six colour photographs and one black and white photograph. The printing on the dust cover is in white, blue and black. The book contains six chapters and many sketches, illustrations, photographs and graphs. .2 This is a 1986 newspaper cutting from the Warrnambool Standard featuring an article on the book, The People’s Force. A history of the Victorian Police Force up to the late 20th century.victorian police force, warrnambool

In the early 1900s, Mary Sweeney commissioned artist Charles Bertie to paint the main house at Culla Hill. He charged her 5 shillings for the picture and 18 pence for the frame She took this painting with her when she married Michael Carrucan in 1910 and it hung in the Dalton Street farmhouse for many years. At a later time (1960s), the Burstons (the then owners of Culla Hill) had a card printed from the painting. The original sketch was photographed in 1970 for reproduction in the Shire history publication Pioneers & Painters (1971). The very fragile original was kept in the Council stoungroom and suffered significant damage to its edges over the years, no doubt it has also yellowed. A comparison of the original as digitised (2022) with the negative taken 50 years earlier also reveals that the left 20% of the sketch has been cut off, probably due to damage. In June 1842 Thomas Sweeney applied to the Superintendent, C.J. La Trobe, asking permission to purchase a portion of the recently surveyed ‘Parish of Nillumbik'. His request was allowed and handed to the sub-treasurer and Land Board. He paid £110 for 110 acres and called the land 'Culla Hill'. He first built a temporary house, a slab hut 12 feet by 10 feet, in which he lived with his wife, an Irish girl whom he had married in 1838. (His first wife had been drowned at Port Jackson.) Some time later he built a permanent residence on the model of a Tipperary farmhouse. It was a rectangular building of hand-made bricks and stone quarried from the Western Hill with a recessed verandah in front, and bore a slate roof. The out-buildings consisted of a detached kitchen, stable and a barn. It was in this house that succeeding generations of Sweeneys were reared. The original slab hut became a washhouse and survived till recent years. 'Culla Hill' became a social centre for the district, church services being held there on various occasions. The first wheat crop in the district was planted by Sweeney who also supplied the first grain for a mill that later was built at Eltham. He took an active interest in the development of the district. At this time travelling people--many of them runaway sailors or convicts--often passed the settlement, and some of them stayed and worked with Sweeney. A tribe of aborigines living on the river below 'Culla Hill' were apparently on good terms with Sweeney, for it is said that they helped him with the building of his house. Very little is known about the aborigines who originally lived in the Eltham district. There must have been many of them; their stone axes, grinding stones, and anvil stones have been found in the gullies around Research and canoe trees and artifacts were found on the Kangaroo Ground hills. Early settlers remembered a tribe that camped on the site of the present railway bridge at Eltham. They held corroborees there and visited settlers for hand-outs of 'flour and bacca’. There was an aboriginal reserve on the Yarra, upstream from Eltham, but most of those who had collected there later went to live on the Pound Reserve at Warrandyte, where the last aborigines in the area finally ended their days. The Pound Reserve, of 1,103 acres, was established at Pound Bend in 1841. The chief protector, George Robinson, and his four assistants, were given instructions to care for the aged and sick, to provide blankets and rations for all who lived there, to train the able-bodied men in agriculture and other trades and to find them jobs. The Yarra blacks, who later came under the protection of William Thomas, have been described as a 'fine race, well made and above the average height'. Thomas Sweeney died on 6 September 1867 and was buried in the Eltham Cemetery. To his wife Margaret and his son John, he left the entire property of 'Culla Hill'. To his other son Patrick, he left 150 acres, including a small two-roomed wooden cottage. He had five daughters: Kate and Margaret (twins) who were born in 1842, Ellen 1846, Annie 1848 and Johanna 1851. John Sweeney farmed 'Culla Hill' until his death in 1909. He had ten children; one of them, Mary, became Mrs M. Carrucan whose son, Mr John Carrucan, still lives at Eltham. 'Culla Hill' passed out of the Sweeneys possession in 1939 and was renamed by its new owners, 'Sweeneys', in memory of its pioneers. - Pioneers & Painters: One Hundred Years of Eltham and its Shire, Alan Marshall 1971, pp10-12 Original colour sketch artwork 4 x 5 inch black and white negative of original colour sketchculla hill, art, charles bertie, drawing, mary carrucan (nee sweeney), sketches, sweeney's cottage

Dr Alan Holmes á Court enlisted in the Australian Army in 1916 as a medical officer with the rank of Captain. In 1918, Holmes á Court was promoted to Major and attached to the 4th Australian Field Ambulance on the Western Front. As the front advanced, the Casualty Clearing Stations became further removed from the battlefield, creating an urgent need for immediate resuscitation prior to transfer back to the CCS. In June 1918, Holmes a Court and his colleagues established a forward resuscitation team. The team consisted of one doctor trained in surgery, blood transfusion and resuscitation, another doctor trained in anaesthesia, resuscitation and blood classification, and four other assisting staff. This team moved out to the wounded, rather than waiting for them to be stretchered back. They provided on-the-spot, life-saving resuscitation. The wounded were then transported back to the Casualty Clearing Station or Regimental Aid Post for further treatment. Among the assorted surgical and resuscitation equipment carried by the forward resuscitation team, were a number of Kimpton-Brown flasks. Blood was collected from patients with minor injuries using the flask. It was then administered to those in need, after establishing their blood type. Citrated blood was introduced by the Americans in 1917. This allowed blood administration to be delayed for up to two hours but there were many problems with transport, storage and infection in these early experimental days.Round, clear glass bottle with white [discoloured] paper label, with red printed, and metal screw-top lid.Handwritten on white [discoloured] paper label: Phillip HARRIS Moulded into the top of the screw-top lid in red ink: RED CROSS BLOOD TRANSFUSION SERVICEblood transfusion, red cross, world war one