Digital image of a photocopy of the Agreement dated 23-8-1912 between the Australian Tramway Employees Association with the Melbourne Tramway & Omnibus Company Limited and a supplemental agreement dated 12-8-1913. The agreement was the first between the Union and the Company which had long resisted unionism. The Victorian Branch of the ATEA was formed in November 1910. The agreement was the result of an Arbitration hearing before the Commonwealth Conciliation Commission. Frank Brennan & Rundle represented the Union and Louis Waxman the Company. The agreement covers wages for all the Companies employees, working days, rostered days off, travelling time, meal breaks, rosters, Sunday work, exchange of shifts, public holiday rates, training of students, accident reports, ability to wear their union badge on their watch chains, disputes re revenue, trackmen, ropemen, the establishment of a Board of Reference, dispute resolution, breach of the agreement and expiry - 30 June 1916, the day the Company Franchise ended. See item 7361 for a copy of the MTOCo employee rules that reflect this agreement. Signed by L L Hill Union President, A C Warton Union Secretary, H A Wilcox Company Secretary, and W G Sprigg, one of the Company Directors. The supplemental agreement - has a long introduction to the dispute regarding workers being represented on the grounds of alleged misconduct. Notes the name of the Court President, Mr. Justice Higgins. Provides the process for representation of any man who is accused of misconduct, discipline, and proof of the charge. Notes the use of the company's private (detective) staff - known as spotters. The wearing of union badges was the cause of a large General Strike by tramway men and others during 1912 in Brisbane.Yields information about the first agreement between the Melbourne cable tram operator and the Union that represented the workers. Digital Image of the 1912 Agreement between MTOCo and the ATEA and a supplemental agreement of 1913tramways, trams, unions, atea, mtoco, cable tramways, employment conditions, agreements, cable trams, disputes, discipline, spotters

Refer to the service of "BASIL DARBY" SX9423, 2/14 Bn.1. A round bronze colour badge, at top border - words "The Reunion", at bottom border - words - "60th Anniversary 2002". In the centre of the badge are two human head profiles, two spitfires, a ship and possibly a tank with big numerals '60' at bottom. 2. Oval brass coloured badge. On top border is the phrase '70th Anniversary' . At bottom border is the phrase - "Bombing of Darwin". In the centre are a flight of aircraft, tall and short humans and the phrase "1942 Front Line Australia". 3. This is a multi shaped badge. It has a stylised Rising Sun, superimposed on that is a dark red shape of Australia. Under that is a black enamel banner with the phrase "Darwin Defenders 1942-1945". 4. This is a shield shaped badge with a long mounting pin behind it. The shield is a green enamel. In the centre is an 8 pointed gold star. Set on a red background. In that centre is phrase "1992 50th Anniversary" in gold colour. Around the outside of the star is the phrase " The Battle of Australia 50th Anniversary 1992".1. On rear is stamped 1484.badges, bombing of darwin, anniversaries

Official invitation to Miss L J Parry from The Matthew Flinders Bicentenary Citizens Council and the Royal Historical Society of Victoria. A large cream coloured card printed with the following words in black script: In the distinguished presence of His Excellency Major-General Sir Rohan Delacombe Governor of Victoria and Lady Delacombe and The Honourable R J Hamer Premier of Victoria and Mrs Hamer, The Chairman Sir John Holland and Members of the Matthew Flinders Bicentenary Citizens Council in association with the Royal Historical Society of Victoria requests the pleasure of the company of Miss L J Parry at "Flinders 200"A multi-media historical entertainment of song, dance, film and narration at the Sidney Myer Music Bowl on Sunday 24th March 1974 at 7:30pm. In the lower left hand corner is printed Admission Free to the lawns. Reserved seats at $2 available at the Victorian Government Tourist Bureau 276 Collins St Melbourne 3000 From 4th March.event, entertainment, anniversary

This historic site of Australia’s first open-air gallery is being redeveloped in 2023 for multi-housing fronting the Research Creek. In 1955, Ian and Joan Hassall moved to Eltham. They took a property on the corner of Zig Zag Road and Main Road, Eltham, north of the township (later known as 1215 Main Road). In July 1962, they opened their open-air gallery. Hassall’s Roadside Galley, “…cradled in the fold of hills to the north of Eltham” inspired by Ian’s own experience of exhibitions along the Embankment in London. The property included remnants of a stone quarry, paintings were hung on screens and removed at night. Various pedestals, that looked like giant mushrooms displayed sculpture, pottery, and jewellery. It had a small natural amphitheatre at the foot of a little sandstone cliff that fall away to the bed of a stream. To enter the gallery, a visitor crossed a small freestone bridge of oriental design, built by Hassall from local stone. The bridge spanned the stream flowing beneath great willow trees. Near the entrance wooden figures were displayed formed from pieces of local wood, said to speak to Ian Hassall’s sense of fun. Hassall’s Gallery was the first gallery of its kind in Australia. Ian became a full-time artist and when it first opened, he exhibited paintings he had made while touring the outback with writer and fellow Eltham resident Alan Marshall. He also exhibited other Australian artists over time including locals Lindsay Edward and Peter Glass.daryl morrow collection, eltham heights luxury living, hassalls roadside gallery, housing development, real estate development, research creek, 2023-07-10

This historic site of Australia’s first open-air gallery is being redeveloped in 2023 for multi-housing fronting the Research Creek. In 1955, Ian and Joan Hassall moved to Eltham. They took a property on the corner of Zig Zag Road and Main Road, Eltham, north of the township (later known as 1215 Main Road). In July 1962, they opened their open-air gallery. Hassall’s Roadside Galley, “…cradled in the fold of hills to the north of Eltham” inspired by Ian’s own experience of exhibitions along the Embankment in London. The property included remnants of a stone quarry, paintings were hung on screens and removed at night. Various pedestals, that looked like giant mushrooms displayed sculpture, pottery, and jewellery. It had a small natural amphitheatre at the foot of a little sandstone cliff that fall away to the bed of a stream. To enter the gallery, a visitor crossed a small freestone bridge of oriental design, built by Hassall from local stone. The bridge spanned the stream flowing beneath great willow trees. Near the entrance wooden figures were displayed formed from pieces of local wood, said to speak to Ian Hassall’s sense of fun. Hassall’s Gallery was the first gallery of its kind in Australia. Ian became a full-time artist and when it first opened, he exhibited paintings he had made while touring the outback with writer and fellow Eltham resident Alan Marshall. He also exhibited other Australian artists over time including locals Lindsay Edward and Peter Glass.daryl morrow collection, eltham heights luxury living, hassalls roadside gallery, housing development, real estate development, research creek, 2023-07-13

Jamieson's comments appear in an article surveying the Uniting Church, 7 years after union. "One member who disagrees with the church presents social justice issues is David Jamieson, who has been editor of the Ringwood parish quarterly magazine "Insight" since union. Mr Jamieson says he knows scores of people who find it very hard to accept what he considers is a bias in the presentation of social justice issues. 'I know a lot of people who are becoming alienated because they feel their side of the story is not being presented by the church. They feel only the radical side of justice issues is being hammered. I think the more conservative side has validity. My main concern is the flood of study booklets and material on social justice issues which look at them from only one angle. The bias is on greed, excessive profits and most unworthy aspects of the multi-nationals compared with the most humanitarian concerns of the left. No mention is made of humanitarian concern by big business or the extremes of the left — such as unwarranted industrial action and the effect that this has on the poor and unemployed. No mention is made of excessive wage demands by highly paid people who are pressuring for bigger flow-ons. ….. I do not believe the church should be neutral on political issues. In fact I agree with nearly all of its stands. But we should look at both sides before making up our minds. Only then should we be vocal in a political sense, no matter how one-sided."Full face, looking intently at the camera.C&N identification.jamieson, david, church union 7th anniversary, social justice

In 1914 the Williamstown Grammar School trustees transferred trust in the school grounds and donated the original school building to the Department of Education to establish a state government high school for Williamstown. This meant the dissolution of the Williamstown Grammar school board and the school's senior students either went on to other grammar schools around Melbourne or enrolled at Williamstown High School. Williamstown High School continues today and the original Williamstown Grammar School building is still in use in the school grounds at Pasco Street. This would have been the end of Williamstown Grammar if not for the highly respected young head of the junior school, Mabel Molland. At the Williamstown Grammar School Speech Night at the end of 1914, the Williamstown Chronicle (Saturday 26 December 1914) reports that management of the school has been taken over by Mabel Molland and that she addressed the assembly saying, 'acceding to the expressed wish of many, I decided to carry on the junior school, and wish to thank the parents for their hearty cooperation in my undertaking'. The reputation of Mabel Molland as a teacher of enormous ability and continuing support from the community would enable the school to survive through depression, war and troubled finances, to see the reinstatement of a school board in 1956, the reintroduction of secondary education in 1978 and a now thriving multi-campus independent P-12 school in Melbourne's west. This photograph is the earliest known image of Mabel Molland (standing in the the third row, second from the right) with her students. The group is pictured in the grounds of the Holy Trinity church hall on the corner of Aitken and Pasco Streets, Williamstown, which was home to the School from 1915 to 1956.Black and white reproduction image on photographic paper of students in four rows with trees in the background, a board in the front row with the words Strathmore/Grammar School/Williamstown. Mabel Molland stands at the right and her sister, Mavis Molland, stands at the left.holy trinity hall, strathmore grammar, whole school photograph

Made by Inge Cammans in 1998 initially to see if she could create an outfit made entirely of wool. The outfit was then entered in the National Wool Awards competition in 1999 and won first prize.Hand knitted cream and brown outfit consisting of a skirt (kilt), jumper, hat (beret), scarf, socks and bag. Outfit is made using hand spun wool from local East Gippsland area, Perendale and Mohair. An artist tag and rosette award accompany the outfit.tag [front]: [handwritten] SCOTTISH OUTFIT / DESIGNED HAND- / SPUN + KNITTED OUT / OF PERRIDALE + / MOHAIR BY / Inge Cammans / [printed] BUCHAN / BLACK MARBLE HUT / GALLERY / Main Street, Box 9, / Buchan, Vic. 3885 / (051) 55 9296 / AUSTRALIA tag [back]: Theo Cammans / is an exceptionally talented individual. / He is responsible for not only / the beautiful paintings and / woodwork throughout the / shop, but also fashions the / unique Buchan Marble / into many varied and / stunning designs. / Inge Cammans / using her own hand spun / wool she has made multi / award winning garments / and wall hangings. / Each item in unique and / renowned world wide / She has taken first prize at - / National Wool Awards, / Melbourne, Lakes, Bairnsdale, Omeo / Paris Exhibitor front [rosette]: OMEO & DIST. A.&P. SOCIETY / WOOL DESIGN AWARDS / 1stknitting handicrafts, cammans, mr theo, knitting, handicrafts, east gippsland

This commemorative plaque refers to the religiously themed window situated in the western (weather) wall of the St. Nicholas Mission to Seamen’s Church building in the Flagstaff Hill Maritime Village. It was crafted circa 1928. ABOUT THE WINDOW The window, to which this plaque belongs was once known as the Dr Connell Memorial Window, which was a feature of an external wall adjacent to the Women’s Children’s Wards of Warrnambool Hospital. Honorary Doctors had played a significant role in the operation of the hospital between the years 1900 to 1939. One of these doctors was Dr. Connell, who passed away in 1928. A paragraph in the book ‘A History of the Warrnambool Base Hospital’ by Forth and Yule describes the role of the Honorary Doctors - “At the start of the period the senior-part time medical officer was replaced by the junior resident medical officer and control of beds and the right to operate were given to the honorary medical officers...and these men dominated the Warrnambool medical world in the years before the Second World War.” Dr. Connell leased ‘Ambleside’, 192 Koroit Street, in the early 20th century, following Dr Teed who had previously run his medical practice there. In 1914 Dr Connell purchased the property and continued his private practice there until his death in 1928. He also took a prominent part in hospital work, both as physician and surgeon, and often acted as spokesmen for the Honorary Doctors. According to colleague Dr. Horace Holmes’ subsequent notes, it was after the close of the First World War, and the following years of the world-wide pneumonic influenza epidemic, that Dr. Connell himself contracted pneumonia and died. His family and friends then recognised his work by gifting the memorial window in his honour to the Hospital. By the mid-1970s the old wards at the hospital had been replaced and there was no obvious place for the window. Discussions between the previous and past Hospital managers, the Anglican Diocese, and Flagstaff Hill Planning Board, led to its installation in its present position in St Nicholas Seamen’s Church. It was installed without the bottom section of stained glass, which was inscribed as a memorial to Dr. Connell. St NICHOLAS SEAMEN’S CHURCH, Anglican Church Flagstaff Hill’s Mission to Seamen was opened in 1981. Its conception was partly motivated by the offer of Stained Glass Memorial Windows from the local Warrnambool and District Base Hospital, which was undergoing multi-storey development in the late 1960’s and early 1970’s. The Manager/Secretary at the time was keen to see the historical windows installed in an appropriate location. The chapel was designed by a local architectural draftsman in conjunction with members of the Planning Board of Flagstaff Hill, and built by Mr Leon Habel. The vision of the designers included the hope that the church be used for formal worship such as weddings and funeral, and for multi-denominational special services such as War commemorations. The design is based on the ‘Mission to Seamen’ buildings in both Portland and Port Melbourne. These types of buildings were often erected to house social and worshipful activities for seamen. The materials used in the building include sandstone recycled from nineteenth-century buildings demolished in Warrnambool and American slate tiles retrieved from the 1908 wreck of the FALLS OF HALLADALE. Most of the chapel furnishings came from the Williamstown Missions to Seamen, which was consecrated in 1946 but later decommissioned. These artefacts range from the altar cloth to the hymn board and include a visually stunning round stained glass widow called ‘Christ Guiding the Helmsman’. However the provenance of this particular artefact, large western window, is local.This plaque is significant because of its association with stained glass memorial window is of local, historical and social significance, linking local history and heritage with one of Warrnambool's doctors, Dr. Egbert John Connell (d. 1928), who gave 30 years of dedicated, medical service to the local citizens.Plaque, opaque, pale green glass rectangle mounted on white timber board and held in place with six decorative silver coloured clasps. Five rows of printed, capitalised text are fixed on the top surface. The plaque is companion to the commemorative, stained glass window installed in the St. Nicholas Mission to Seamen's Church at Flagstaff Hill. (The window was previously known locally as the Dr. Connell Memorial Window.)"A TRIBUTE TO / EGBERT JOHN CONNELL, M.B.B.S. / WHO FOR 30 YEARS RENDERED DEVOTED AND / VALUABLE SERVICE TO THIS INSTITUTION / OBIIT APRIL 4th 1928, A.D."flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chapel window, stained glass window, warrnambool and district base hospital, st nicholas mission to seamen’s church, williamstown mission to seamen, dr egbert connell, ambleside warrnambool, leon habel builder, falls of halladale slate, memorial window, commemorative window, dr connell, commemorative plaque, plaque, edgar mcconnell

Hilda Charlotte Foster, 1902 - 1990, was a Double Certified Nurse when, at the age of 35, she successfully applied to the board of the Australian Inland Mission (AIM) to work at an outback field centre in South Australia. Born and raised in suburban Melbourne, she had been inspired by stories told to her by other missionaries about the fulfilment to be gained working amongst Aboriginal communities. Given her religious faith and nursing skills, she believed she could make a difference. She worked in Oodnadatta in South Australia for two years (1937-1939), followed by a stint in Innamincka in New South Wales in 1940 -1942. Before she became a nurse, Hilda Foster trained to be a Sunday School teacher and was a member of the Sunday School Council of Victoria. She completed first aid courses run through the Presbyterian Deaconesses Institute in Carlton, Victoria, and in 1930 successfully applied to become a trainee nurse at the Austin Hospital for Incurables, in Heidelberg. She commenced her training there in 1931, before moving to the Women's Hospital in 1933. In 1934 she had six months at the Fairfield Infectious Diseases Hospital, before returning to the Austin, where she was employed when she sat her final exams in November 1934. Her combined skills made her a most attractive option for the Australian Inland Mission. As well as being multi-skilled as a nurse, she provided religious instruction and spiritual ministry to members of the community. https://trove.nla.gov.au/people/762093?c=people Sister Foster nursed at Toora Bush Hospital prior to leaving for the Paton Memorial Hospital, Vila, New Hebrides in 1944. She left the New Hebrides in 1946.Matt, black and white, head and shoulders, studio portrait of Sister Hilda Charlotte Foster on card.australian inland mission, presbyterian deaconess, sister hilda charlotte foster, paton memorial hospital vila new hebrides

James Henry Steward (1817–1896) established J.H. Steward in London in 1852. As “Head Optician” he would have been a qualified oculist but little is known about the founder’s early life and scholastic achievements. However, given the variety of disciplines for which he undertook he was also an accredited instrument maker,he clearly was a gifted scholar and quickly gained professional recognition in a full range of fields for an instrument maker of his day. J.H Steward became incorporated as J.H. Steward Limited on 1st February,1913. The business grew from modest beginnings. Steward would sell pocket watches and assorted items at the annual competition days of "The National Rifle Association of the United Kingdom(NRA)" from a stall. As the governing body for full bore rifle and pistol shooting sports in the UK. The Association established in 1859 with the aim to improve the shooting skills of the newly formed corps of volunteers to meet the perceived threat of an invasion by the French. J.H. Steward advert first appeared in the NRA competition program of 1865. The NRA meetings were held at first on Wimbledon Common, Surrey until 1889. Then because of pressure by the local community, the NRA along with its buildings and its flourishing meetings moved further south to Brookwood, Surrey. By now the Steward operation had grown from a modest stall into a large marquee selling various optical and scientific instruments at these meetings. Throughout its long trading history the J.H. Steward company and many members of the family maintained strong ties to the NRA and competition shooting events. The NRA records show that at the end of the 19th century the NRA bestowed a Life Membership on 7 Steward family members. First presented by J. H. Steward Ltd. in 1902 was the “Steward Trophy” that is still an annual competition for teams of four from any rifle club affiliated to the NRA. There is also evidence that many family members were fine shots.The item was made by a significant instrument manufacturing company that concentrated during the middle 19th century on supplying the British military. This items pattern & design is still available as a reproduction, available on the internet. However this original seems unique as the writer cannot find another for sale or in a collection to date. The assumption is that this type of compass was made for the British artillery units given the sun dial. Further research is ongoing as the writer regards this item as rare and social significant.Brass Compass and Sundial manufactured by J H Steward 407 & 406 West Strand, London. Can be used in both hemispheres. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, compass, sundial, combination compass and sundial, steward strand london, j h steward

W E Herring and his wife arrived in Brighton in 1887 to live in Roslyn Street. They had both been active members of the Fitzroy Street, St Kilda church choir. In 1937 Mr Herring recalled church life in the 1880s and 1890s. Houses were scarce and to reach the Wesleyan Methodist Church in Were Street, Brighton Beach a creek which had no bridge had “to be crossed – in winter, with the help of a hurricane lamp – and it was no uncommon thing for the preacher, if he were a stranger, to arrive late and breathless, or not at all.” In 1907 permission was given to form a tennis club at Were Street and Mr Herring was its first president. He was also the Were street Methodist Sunday School Superintendent, the Were street Methodist church organist and a member of the church’s Trust. “The Sunday School had a fine set of teachers. The rows of well-drilled and disciplined young life that filled the platform on Sunday School anniversaries, and sang their songs under the baton of Mr Herring, constituted a promise that was amply fulfilled as the years rolled on.”* *”Fifty years ago : a little history of Were Street Methodist Church” : Issued in commemoration of its Jubilee by Members of the Trust 1887 – 1937. To celebrate Queen Victoria's Diamond Jubilee Mr Herring composed an anthem. The Brighton Southern Cross, Saturday 26 June 1897, page 2 reported: "The diamond jubilee has been instrumental in evoking some local musical talent. Mr W. E. Herring, organist of the Were-street Wesleyan Church, not being able to find any anthem specially suitable to the jubilee services, set his musical genius to work and composed an original piece. The words are selected from the 72nd Psalm. The music is a very tuneful and well harmonised theme, which does credit to the composer's skill and taste. The anthem was rendered twice on Jubilee Sunday at the Were street Church." Stained wood turned music baton.w e herring, were street methodist sunday school superintendent, music baton, were street wesleyan methodist church

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby.Stoneware bowl with flange. Glazed in white matt crackle with a faint copper red tint. Dry black glazed rim. Gift of the artist.Robin Welch stamped on baseceramics, robin welch, gippsland, gppsland campus, jan feder memorial ceramics collection

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood. When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth, brilliant light, grittier textures and luminous colour. Stoneware bowl on a tall foot. Calcium matt glaze, underglaze colour with underglaze metallic lustre. ceramic, jan feder memorial ceramics collection, robin welch, gippsland campus, mungeribar pottery, stadbroke pottery

Robin WELCH ( 23 July 1936-5 December 2019) Born Nuneaton, Warwickshire, England Robin Welch is one of the most highly respected contemporary British potters. The full range of his work includes large vessels with related paintings, fine drawings, and distinctive bowls and vases which explore colour, surface texture, form, detail of edge, and line. He is one of small group of significant British potters who expanded the language of throwing pots on the wheel through post-wheel additions and alteration. This gave his generally cylindrical forms a more organic and sculptural aspect, but their heavily coloured and textured surfaces were as much about painting, too, as Robin sought an integration of the visual disciplines he enjoyed. As he once wrote: “There’s no divide between art or craft. You decide to be an artist and you’ll use anything. If marooned on a desert island you’d use driftwood.” (https://www.theguardian.com/artanddesign/2019/dec/27/robin-welch-obituary, accessed 23 March 2021) When not in his Suffolk studio Robin Welch spent much time in Australia where he appreciated the outback’s arid earth and brilliant light, its grittier textures and luminous colour, qualities he sought to convey in-the-round and on canvas. Apart from his studion work Robnin Welch was a skilled designer for industry including Wedgwood, Midwinter and Denby. Initially studying at Penzance School of Art under Michael Leach (son of Bernard Leach) and the Central School of Art, London Robin Welch then worked part-time at the Leach Pottery between 1953 and 1959 before opening his own pottery in London's west end (1960 to 1962). After a couple of years of world travel, including working in Australia from 1962 to1965 helping Ian Sprague set up his Mungeribar Pottery and exhibiting in Melbourne, Robin Welch returned to England setting up Stadbroke Pottery in Eye, Suffolk in 1965.Stoneware bowl with split flange, glazed with matt white, black and a touch of copper red Tobin Welch stamped on basejan feder memorial ceramics collection, ceramics, robin welch, gippsland campus, jan feder

This religiously themed window is situated in the western (weather) wall of the St. Nicholas Mission to Seamen’s Church building in the Flagstaff Hill Maritime Village. It was crafted circa 1928. ABOUT THE WINDOW This window, once known as the Dr Connell Memorial Window, was a feature of an external wall adjacent to the Women’s Children’s Wards of Warrnambool Hospital. Honorary Doctors had played a significant role in the operation of the hospital between the years 1900 to 1939. One of these doctors was Dr. Connell, who passed away in 1928. The green glass plaque is also a registered object in Flagstaff Hill's Collection. Its inscription dedicates the window to Dr. Connell. The inscription reads: “A tribute to Egbert John Connell M.B.B.S. who for 30 years rendered devoted and valuable service to this institution. Obiit April 4th 1928 A.D." A paragraph in the book ‘A History of the Warrnambool Base Hospital’ by Forth and Yule describes the role of the Honorary Doctors - “At the start of the period the senior-part time medical officer was replaced by the junior resident medical officer and control of beds and the right to operate were given to the honorary medical officers...and these men dominated the Warrnambool medical world in the years before the Second World War.” Dr. Connell leased ‘Ambleside’, 192 Koroit Street, in the early 20th century, following Dr Teed who had previously run his medical practice there. In 1914 Dr Connell purchased the property and continued his private practice there until his death in 1928. He also took a prominent part in hospital work, both as physician and surgeon, and often acted as spokesmen for the Honorary Doctors. According to colleague Dr. Horace Holmes’ subsequent notes, it was after the close of the First World War, and the following years of the world-wide pneumonic influenza epidemic, that Dr. Connell himself contracted pneumonia and died. His family and friends then recognised his work by gifting the memorial window in his honour to the Hospital. By the mid-1970s the old wards at the hospital had been replaced and there was no obvious place for the window. Discussions between the previous and past Hospital managers, the Anglican Diocese, and Flagstaff Hill Planning Board, led to its installation in its present position in St Nicholas Seamen’s Church and the memorial plaque was later installed beside the window. St NICHOLAS SEAMEN’S CHURCH, Anglican Church Flagstaff Hill’s Mission to Seamen was opened in 1981. Its conception was partly motivated by the offer of Stained Glass Memorial Windows from the local Warrnambool and District Base Hospital, which was undergoing multi-storey development in the late 1960’s and early 1970’s. The Manager/Secretary at the time was keen to see the historical windows installed in an appropriate location. The chapel was designed by a local architectural draftsman in conjunction with members of the Planning Board of Flagstaff Hill, and built by Mr Leon Habel. The vision of the designers included the hope that the church be used for formal worship such as weddings and funeral, and for multi-denominational special services such as War commemorations. The design is based on the ‘Mission to Seamen’ buildings in both Portland and Port Melbourne. These types of buildings were often erected to house social and worshipful activities for seamen. The materials used in the building include sandstone recycled from nineteenth-century buildings demolished in Warrnambool and American slate tiles retrieved from the 1908 wreck of the FALLS OF HALLADALE. Most of the chapel furnishings came from the Williamstown Missions to Seamen, which was consecrated in 1946 but later decommissioned. These artefacts range from the altar cloth to the hymn board and include a visually stunning round stained glass widow called ‘Christ Guiding the Helmsman’. However the provenance of this particular artefact, large western window, is local. This stained glass memorial window is of local, historical and social significance, linking local history and heritage with one of Warrnambool's doctors, Dr. Egbert John Connell (d. 1928), who gave 30 years of dedicated, medical service to the local citizens.Stained glass leadlight window in Gothic arched metal frame with six horizontal reinforcing rods. Image depicts a golden flat-bowled baptismal font on a slender stand with foliage proceeding from it. The image is internally framed by a Roman arch of coloured glass and surrounding rectangular and breaking-wave shapes. (The window was previously known locally as the Dr. Connell Memorial Window and a plaque dedicated to Dr. Connell is catalogued separately. See Context notes for details.)flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chapel window, stained glass window, warrnambool and district base hospital, st nicholas mission to seamen’s church, williamstown mission to seamen, dr egbert connell, ambleside warrnambool, leon habel builder, falls of halladale slate, memorial window, commemorative window, dr connell

The VN Commodore was available in Executive, S, SS, Berlina and Calais specification levels, although a more basic SL model (opt. code A9K) was supposedly offered to government and fleet buyers, as it was not officially listed as part of the Commodore range. Changes in the relative values of the Australian dollar, the Japanese yen, and the US dollar made it impractical to continue with the well-regarded Nissan engine of the VL. Instead, Holden manufactured their own 90-degree V6 based on an old Buick design from the US, although initially it was imported. The 5.0-litre V8 remained optional and received a power boost to 165 kW (221 hp). Both these engines used multi point GM EFI and the V6 using 3 coil-packs for ignition. Holden and HSV developed this car as the basis for racing in Group A Confederation of Australian Motor Sport events. While the minimum number of cars built to qualify in Australian Touring car Championships, with modified body kit, brakes or engine is 500, only 302 VN were built but CAMS granted an exemption allowing them to compete.Holden and HSV had worked hard to develop this car to be a serious competitor to the Skyline, Ford Sierra and the BMW which had dominated in the previous years. This was to be the Holden’s answer and coincided with the return of Peter Brock back to the Holden team from 1987.Mechanically the cars were fitted with reworked version of Holden’s 4.9 litre V8. The engine block was cast for additional strength, modified cylinder heads roller rockers and high fuel flow fuel injection was applied. Output was 215 kw at 5200revs and, though at today’s standard, that is not that much it was very impressive at that time. The drive was through a six speed ZF gearbox with a heavy duty racing clutch and a limited slip differential.Under the Hawke government's Button car plan, which saw a reduction in the number of models manufactured locally, and the introduction of model sharing, the VN Commodore was rebadged as the Toyota Lexcen, named after the late America's Cup yacht designer, Ben Lexcen. Subsequently, the Toyota Corolla and Camry were, similarly, badged as the Holden Nova and Holden Apollo.Red executive 4 door sedanHolden Lion and stone emblem grille centre, Commodore boot LHS, Lion and stone emblem boot RHS.vehicle, vn commodore, holden, car

John Glass Cramond 1829 and James Dickson 1831-1910 were founders of a large drapery store. Both were Scots and both came separately to Australia in 1852. Cramond initially came for gold but soon opened a store in St Kilda with a post Office attached and he was the first post master there. Dickson was a farmer’s son but became a draper and while he was unsuccessful on the Bendigo diggings and then returned to Melbourne where he met Cramond and soon after they opened a store on Lonsdale Street. They opened their business in Warrnambool in 1855 as a general store with groceries, drapery and ironmongery. Both partners were involved with the community and James Dickson was an original director of the Warrnambool Woollen Mill 1909 and the Warrnambool Cheese and butter factory. He also served on the committee of management of Warrnambool Base Hospital. This case was a wedding gift from James Dickson Jnr to his wife Mary Glass Cramond on the occasion of their wedding. This item has significance on a number of levels. It belonged to a member of one of Warrnambool’s earliest pioneering families and it marks the occasion when the two families of Cramond and Dickson were linked through the marriage of James Dickson jnr and Mary Glass Cramond. The firm played a significant part in the development of the city and traded for nearly 150 years. It therefore has social significance to Warrnambool. The item is well provenance with the case initialed and items within the case monogrammed. The case and its items are aesthetically quite beautiful as well as being typical of travelling or dressing cases of the more well to do, of the time. Mappin & Webb were manufacturers of some standing with the Mappin name appearing in manufacturing as early as 1775.The company has held a royal warrant as silversmiths since 1897 to the present day and as crown jeweler since 2012. Throughout this time, they have manufactured quality items for the luxury market. It provides an insight into the way ladies travelled and the items which they considered essential. This consists of a black leather with leather handle attached with brass fittings. Middle opening with side pocket on one side with metal catches. Inside has removable sections for holding the numerous containers and items belonging to the case. Interior of the case is dark blue satin. The items contained within the case are as follows: 321.1 Luggage case 321.2 Glass bottle rectangular, silver monogrammed lid, empty. 321.3 Tall round glass bottle, silver monogrammed lid, empty. 321.4 Small glass bottle with pink powder, silver monogrammed lid. 321.5 Small multi sided bottle with stopper and brass hinged lid. 321.6 Tall round bottle with silver monogrammed lid. 321.7 Tall thin multi sided bottle with brass lid. 321.8 Cream coloured monogrammed jar cotton wool inside. 321.9 Clothes brush rectangular cream back. 321.10.1Glove stretcher bone coloured .10.2 Case black leather. 321.11.1 hair comb cream with silver edge .11.2 Case black leather 321.12 Hair brush cream handle 321.13Spatula cream monogrammed 321.14 Mirror, silver round with handle. 321.15 Writing compendium .1 Case black leather .2 Pen with nib .3 Lead pencil .4 Navy satin covered blotting book 321.16 Inkwell glass bottle in small black leather case. 321.17 Match striker in leather case. 321.18 Mirror in black leather case rectangular 321.19 Small case for visiting cards. 321.20Sewing kit rectangular, contains threads and needles pkts x 3 321.21Container, small, hinged tortoise shell patterned. 321.22.1 Manicure set .2 Scissors small .3 Scissors large .4Corkscrew with Mother of pearl handle .5 Pocket knife with Mother of pearl handle .6Tweezers with Mother of pearl handle .7 File with Mother of pearl handle .8 Fine hook Mother of pearl handle .9 Bodkin .10 Bodkin 321.23 Hairbrush oval silver backed 321.24 Mirror silver handled hand mirror. 321.25 Hairbrush wooden handled with Mother of pearl inlay. 321.26 Cylinder, silver with removable lid and small phial of iodine labelled Felton’s pocket iodine. 321.27 Phial small glass with gold decorations. 321.28 Inhaler with insert 321.29 Thimble, metal. 321.30 Silver backed hair brush 321.31 silver backed clothes brushEngraved on side pocket: M.G.D. Mappin and Webb Sheffield and London. Some of the items are monogrammed as per the list above. A number of the glass bottles have lids hallmarked Mappin & Webb London and Sheffield makers stamped inside lid with hall marks history of warrnambool, cramond and dickson, mary glass cramond, dressing bag, woman's toiletry bag 1880

Kagawa, Toyohiko (1888-1960) Japanese evangelist and social movement leader Kagawa was born in Kobe to Kame and Junichi Kagawa. In lonely years following the death of his parents at age four, he met Harry W. Myers and Charles A. Logan, missionaries of the (Southern) Presbyterian Church, U.S., and was baptized by Myers on February 14, 1904, at the Tokushima church. He pursued theological study at Meiji Gakuin in Tokyo and Kobe Theological Seminary. During his student days in Kobe he moved into the Shinkawa slum to serve the physical and spiritual needs of some 7,500 people. Between August 1914 and May 1917 Kagawa studied in the United States at Princeton Theological Seminary and then became involved in labor and peasants movements in Japan and in organizing religious programs, with the Jesus Band of Kobe as the base of his work. In 1921 Kagawa organized the Friends of Jesus. This Franciscan-like band of young people strove for spiritual discipline, compassion for the poor, and an evangelical life of witness. When Tokyo suffered a massive earthquake in 1923, he shifted the main emphasis of his work to that city. He promoted economic cooperatives in Japan and peace and social reform programs before and after World War II. Kagawa was a prolific writer. Most of his writings are collected in the twenty-four volume Kagawa Toyohiko Zenshu (The work of Kagawa Toyohiko) (1964). His theological focus was on the redemptive love of God, manifest in the life of Jesus Christ, to whom people can commit themselves through a mystical experience of faith and intellectual creativity. Kagawa was known more as a Christian social reformer than as a religious leader both in and out of Japan, but he was fundamentally an evangelist throughout his life. Robert M. Fukada, “Kagawa, Toyohiko” in Biographical Dictionary of Christian Missions, ed. Gerald H. Anderson (New York: Macmillan Reference USA, 1998), 350. This article is reprinted from Biographical Dictionary of Christian Missions, Macmillan Reference USA, copyright © 1998 Gerald H. Anderson, by permission of Macmillan Reference USA, New York, NY. All rights reserved. B & W informal photograph of the Rev. H.C. Matthew and Toyohiko Kagawa standing in front of the door to Captain Cook's Cottage in the Fitzroy Gardens, Melbourne. "Melbourne May 19th or 11th 1935. H.C. Matthew & Toyohiko Kagawa standing by the cottage recently removed to Australia & re-erected in Melbourne Botanical Gardens in which Captain Cook was born."toyohiko kagawa, h.c. matthews, captain cook's cottage, friends of jesus, christian missions.

Set of 14 duplicated newsletters printed on coloured quarto or foolscap duplicated paper, "Trammie Link" .1 - November 1978 - 1 quarto sheet - complaining about the lack of union leadership - published by a "tramways rank and file group" .2 - March 1979 - 4 sheets - training, shift work, Burke Road tram, route 72 tram, Gardiner, lifeguards, uniforms. .3 - April 1979 - 4 sheets - disciplinary panel, rosters, Camberwell depot, route 72, buses, North Fitzroy, Doncaster, Clifton Hill, Z class cars. .4 - May 1979 - 4 sheets - discipline, lifeguards, bus safety, union issues. .5 - June 1979 - 3 sheets - politics and unions, Preston depot, Camberwell depot, wage indexation, union matters, finance for public transport, Tramway Record. .6 - August 1979 - 10 pages- Preston Depot, item written by Jim Harper, public transport and government, hook turns, union meetings, women, ACTU, wages, shift work, rosters, depots, wage indexation, shift lengths. .7 - June 1980? - two pages - undated - Service cuts at North Fitzroy, depot committees, news from depots, and note re a meeting on Monday 7 July. .8 - July 1979? - 4 pages - strikes, union campaigns, depot management, industrial issues, discipline, depot facilities. .9 - Sep. 1980 - 3 pages - Lonie report, buses, closure, public transport, union, 35 hour week, unions. .10 - Oct. 1980 - 4 pages - union elections, industrial campaigns, 35 hour week, Lonie repot, public transport. .11 - Oct. 1982 - 3 pages - Preston workshops and new trams, new trams, W class trams, accidents. .12 - Undated - 2 pages about Paul Krutulis - a scab or an Agent Provocateur - see https://www.anu.edu.au/polsci/marx/interventions/years/11revival.htm - accessed 30-8-2016. - Extracted are the 4th and 5th paragraph below which give a bit of a background. .13 - July 1991 - 4 pages - open letter to Jim Harper re union Amalgamation, rank file view, what it would mean to workers - a negative view. Amalgamation was a major push of the Hawke - Keating Government. .14 - March 1992 - supportive of Jim Harper, dismissive of Lou DiGregorio, Union executive, union amalgamation, cross linking of tram routes, racial discrimination within the PTC, Kew Depot, ACTU. Lists the rank and file committee - see key associations. Latham’s frustrations were shared by several would-be heroes in Victoria. In 1977 Paul Krutulis gained an exemption from union membership from the Arbitration Commission as a conscientious objector, only to find that tramway workers at Kew planned to stop work as soon as he appeared. Commissioner Cohen then recommended his dismissal, saying she “had to deal with the reality of the situation.” Krutulis later became president of a group called People Against Communism, before being murdered in September. Thus Krutulis departed the scene to be followed in early 1978 by motor mechanic Jack Kane, who had crossed a picket line at a Melbourne City Council depot. The AMWU forced the Council to sack him before it would end the strike. In September of the same year, Barbara Biggs succeeded in provoking a confrontation in the tramways where Krutulis had failed, by refusing to join the union and prompting 100 unionists at Brunswick depot to go on strike. The union executive had arranged token action confined to this depot, but the members wanted more. The strike spread to Preston, then 2,000 trammies at a mass meeting voted for an indefinite strike amidst “rowdy outbursts”. When Biggs complained at being excluded from the meeting a conductress told her, “We should have let you in, love. You would have been torn to pieces.” Paul was murdered by his brother George in Sydney - see the Age 29/11/1977, but there seems to be some conspiracy theories abounding as well.Handwritten note / letter from Chris Jacobson.trams, tramways, unions, training, shifts, uniforms, route 75, gardiner, light rail, camberwell, z class, buses, discipline, tramway record, preston, north fitzroy, services, strike, depots, discipline, lonie report, public transport, preston workshops, rtbu, actu, ptc

In 1961 the Falls Creek Tourist Area Management Committee determined that there should be only one approved Ski School in the Tourist Area. The franchise for 1961 was granted to Alpine Developments Pty. Ltd', which also had the franchise for Tow Bar operations. The Ski School headquarters were based at the canteen adjacent to the T-Bar drive station. The Management Committee also determined that "No person shall be permitted to give instruction in skiing for any money or material consideration without the prior approval of the Management Committee". The Alpine Developments franchise was extended for the 1963, 1964 & 1965 seasons. In August 1964, the Committee declared that it was satisfied with the present Ski School operated by Alpine Developments, and is most anxious to retain it at Fells Creek. They declared that they were particularly happy with the standard of teaching and control achieved by the School director, Mr. Siegfried Haberzettl, who was at the resort for his fifth year, and to whose leadership and direction the success of the School was largely due. The Committee therefore arranged to extend the franchise for a further three years after 1965, and thereafter the franchise was to be continuous on twelve months' notice of termination from either party. In the 1960s and 1970s, the majority of Ski Instructors were Austrian. Lorna Clarke was one of the first Australians to gain the highest Austrian qualification, the Staatlicher Bundessportheim. She was employed at the Falls Creek Ski School in 1964. In the 1980s there was a push for more Instructor training to take place in Australia to enable local instructors to gain higher qualifications without having to travel to Europe. During this period, George Pirmoser and later Brad Spalding were Ski School Directors and Bridgford was the still the owner of Alpine Developments (Holdings) Pty. Ltd. continued to push for training of Australian instructors. Brad Spalding took over as Ski School Director in 1986 and along with his partner, Melissa Landregger developed a wide range of programs including children’s and women’s programs, private lessons and multi-day clinics for which Falls Creek Ski School is renowned until the present.This image is significant because it depicts some of the early instructors at Falls Creek Ski School.A coloured photo of a group of instructors at Falls Creek Ski School. On left Siggy Haberzettl, on right Lorna Clark. Siggy (Sigi) Haberzettl was the Ski School Director in the 1960s and Lorna was the first Australian instructor to be employed by the Falls Creek Ski School in 1964.falls creek ski school, brad spalding, lorna clarke, siegfried haberzettl

The Fred Rochow Railways Collection incorporates photos related to the operation of the Wodonga Railway Station including different types of trains and railways staff C. 1930 – 1990. It was donated to the Wodonga Historical Society by Fred Rochow, a railwayman who spent many years based in Wodonga. He joined the Victorian Railways on 17th June l947 and retired in 1988. For some time, he was a member of the Australian Federated Union of Locomotive Enginemen and served a term as a member of the Trades Hall Council. He had an extensive knowledge of the struggles that took place to achieve better conditions for railway workers. Fred worked for many years as a fireman and then worked his way up the ranks to driver, experiencing many changes from the days of steam locomotives through to diesel trains, locomotives and even the modern XPT train. He worked throughout Victoria at different stages of his career, with his final working years focused on the northeast of Victoria and the Albury to Melbourne line. After his retirement, Fred continued to share his love of steam miniature trains with the community.This collection has local and statewide significance as it captures images of trains, locomotives and personnel who operated the railway services in Wodonga and throughout Northeast Victoria. The railways played a critical role in opening up Victoria and connecting Australia for trade, business, social communication and transport.Driver George Judge standing on front of Locomotive X38 special train "Spirit of 96" The X class are a class of mainline diesel locomotives built by Clyde Engineering Victorian Railways between 1966 and 1976. X 38 was part of the second order. It entered service on Friday, 8th May 1970. X 37 and X 38 were built as replacements for the two S Class locomotives lost in the fatal Southern Aurora crash at Violet Town in 1969. It was later sold to Pacific National and rebuilt as XR550. "Spirit of 96" was a passenger train specially designed for cast and crew of the Australian 0-10 Network series “Number 96”. It was used to travel from Sydney to Melbourne for the annual TV Week Logie Awards. It was a silver, multi-carriage train with the Commissioner's carriage hooked up at the rear for VIPs. The 16 and a half-hour overnight journey, left from the centre of Sydney at 4.30 pm with a farewell party, complete with red carpet and jazz band in attendance. It featured whistle stop visits at country sidings and stations. Thousands of people turned out to see their favourite stars, before it arrived at Spencer Street station. The rail service of the time was keen to promote its overnight tourism packages, and for the journey the train was christened as the "Spirit of 96”. On front of locomotive "X38" On red black and white sign attached to the front rail of the locomotive "O/The Spirit of 96/Sydney-Melbourne/1974"railways wodonga, fred rochow, wodonga railwaymen, x class diesel locomotive, george judge, spirit of 96

Rear view of Eltham Library showing loading dock and ramp to the front of the building. Designed by multi-award winning architect, Gregory Burgess, for which he won the 1995 Royal Australian Insitute of architects (Vic.) Merit Award in the New Institutional category. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p183 Award-winning Eltham Library, with its earthy tones blending into the nearby parklands, celebrates some of the best of Eltham’s spirit. Designed by multi-award winning architect, Gregory Burgess, the library at Panther Place, won him the 1995 Royal Australian Institute of Architects (Vic) Merit Award in the New Institutional category.1 The design is typical of Burgess’ work, emphasising natural materials and forms, and the integration of building and site.2 In its distinctive architectural character, Burgess celebrated the spirit of Eltham’s artist/architect Justus Jörgenson and mud-brick builder Alistair Knox. However this library, which opened in 1994, follows decades of efforts to acquire a suitable library for local residents. It was only in 1971 that Eltham acquired its first purpose-built library. In the 1930s books were borrowed from a mobile library run by Mr Foster of Bible Street. From the 1930s to the early 1950s, adults borrowed books from the newsagency and general store in Main Road (still a newsagency) near Arthur Street. As late as the 1950s, adults borrowed books in the shire office foyer, then in Main Road near the corner of Arthur Street.3 In the early 1950s the ratepayers voted for lower rates rather than a library, in a referendum to build a public library financed by higher rates. Children depended on volunteers for their library service until 1966. In 1946 the inaugural meeting of the Eltham War Memorial Trust’s Women’s Auxiliary, decided to support the Trust by raising funds to buy land and build a Children’s Library, Baby Health Centre and other facilities. The auxiliary formed the Children’s Library Committee, which included Mrs Morrison, Mrs Bow and Mrs Currie. They ran a library service in the stage area of the Eltham Hall, at the corner of Arthur Street and Main Road. In 1952 the books were relocated to a room in the newly opened Baby Health Centre on Main Road. Then in 1961, the Children’s Library received its own hall beside the Eltham Pre-School Centre on Main Road. From there, each month, volunteers delivered books to every school in the shire. In 1966 the Children’s Library closed after 17 years of service, following the transfer of the Trust land and buildings to the Shire of Eltham. The books were donated to nine schools in the shire and to Community Aid Abroad. An important boost to the library service came in 1965, when the Heidelberg Regional Library Service was formed by the City of Heidelberg with the Shires of Eltham and Diamond Valley. Its first library service for Eltham Shire was a bookmobile van. Books for children and adults were finally housed in one building in 1966, when the shire converted the Brinkkotter house in Dudley Street, into a library. At last in 1971, the Eltham Library moved to new premises attached to the shire offices near Panther Place. However these were demolished in 1996, by State Government appointed commissioners during council amalgamations. Meanwhile the Heidelberg Regional Library Service was disbanded in 1985 and the Yarra Plenty Regional Library Service was established. The burgeoning population brought pressure for a bigger library. Eltham was one of several municipalities in the 1970s and 1980s, battling with the State Government for adequate funding for public libraries. Funds were so tight, that in 1987 Eltham councillors threatened to close the library. However public petitions persuaded them to set aside funds to replace the cramped library facilities. In 1992 the Federal Government gave $887,496 towards the $3 million cost of the 1560 square metre library.4 The result is a light and spacious building with surrounding verandas, made of sustainable natural materials including earth and recycled and radially sawn timbers. It includes a gallery and function areas. In 2004 Mr Burgess won Australian architecture’s highest accolade: the Royal Australian Institute of Architects Gold Medal. He has received more than forty professional and community awards.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, eltham library, panther place

In 1868 John Rowley opened a soda water manufactory attached to the Corio Brewery and this was renamed the Warrnambool Steam Aerated Works in 1872. By the 1880s his factory at the corner of Timor and Banyan Streets was occupying half an acre of land , employing 13 people and manufacturing 20 varieties of drinks. Following Rowley's death the factory and plant was sold but the cordial manufacturing business continued for some years. These labels are of great significance as John Rowley was a dominant name in the cordial making business in Warrnambool..1 Rectangular , red, green, blue and white label featuring text, two flags with lions, a sailing ship, a sheep and a sheaf of wheat. There is a scroll with text. A white decorative border surrounds the label. It is adhered to a piece of red thin cardboard. .2 Irregular shaped label with gold and green decorations on a white background and text. The decorative pieces include grapes, vine leaves, flowers, the profile of a wolf, and two medallions with the coat of arms of Warrnambool There are two scrolls with text The label is adhered to a piece of white card. .5 Rectangular Multi coloured label with text adhered to a piece of white paper .4 Rectangular green card with text .3 Hexagonal grey/green label with black and red text and decorative black dotted curls mounted on white paper .6 White rectangular label with blue text and decorative surround of leaves and flowers. It has damage to three corners. .7 White label with blue text and decorative border adhered to white paper. .8 Pale pink rectangular card label with rose coloured text and a decorative border. .9 Cream rectangular label with red text and decorative border adhered to a piece of white paper 10.1, 10.2 Cream rectangular labels with red text. .2 is adhered to white paper. 11.1, 11.2 Cream rectangular labels with red text and borders adhered to white paper..1 ROWLEY'S STANDARD CLOVES WARRNAMBOOL COLOURED WITH BURNT SUGAR .2 Warrnambool NULLI SECUNDUS BY THESE WE FLOURISH STANDARD ORANGE BITTERS J.S.ROWLEY .3 STANDARD HOP BEER J.S. ROWLEY AERATED WATERS & CORDIAL MANUFACTURER WARRNAMBOOL .4 Rowley's SPARKLING Ginger Champagne NON ALCOHOLIC AND INVIGORATING .5 WARRNAMBOOL J.S.ROWLEY'S GINGERALE. TO HIS EXCELLENCY LORD BRASSEY K.G.B. .6 ROWLEY'S LEMONADE MANUFACTURED WITH THOROUGHLY FILTERED RAIN WATER WARRNAMBOOL .7 ROWLEY'S LITHIA WATER .8 ROWLEY'S TONIC WATER .9 ROWLEY'S GINGER BEER .10.1 ,10.2 ROWLEY'S KOLA CHAMPAGNE A Most Highly Refreshing and Excellent Beverage. Its properties are unequalled for preventing fatigue. .11 J.S ROWLEY, MANUFACTURER WARRNAMBOOL & HAMILTON CONTENTS APPROXIMATELY 25 OZ. THIS CORDIAL DOES NOT CONTAIN ANY PRESERVATIVE .2 Warrnambool NULLI SECUNDUS BY THESE WE FLOURISH STANDARD ORANGE BITTERS J.S ROWLEY john rowley, cordial manufacture

The RDNS Sister is about to leave to visit patients in their homes in the community to administer nursing care as advised by a Doctor. The RDNS insignia on the door of the car is a round badge with a royal blue circle around the edge with the words "Royal District Nursing Service" in white, and the centre section is in three parts ,with the upper and lower sections white, and a royal blue centre strip with the large white capital letters "RDNS".Royal District Nursing Service (RDNS) has had various modes of transport over the last 130 plus years. At first, from 1885 as Melbourne District Nursing Society (MDNS), their Trained nurses (Nurses) walked the streets and lane ways amid the slums of central Melbourne. As the Society expanded public transport was used, and bicycles were bought by the Society in 1903 and used in inner areas until 1945. During the Spanish flu epidemic, in 1919, MDNS appealed for assistance to procure Motor vehicles so the Nurses could visit an influx of cases. Through trusts, grants and donations four 'Ford T Model' cars were procured which enabled the Nurses to triple their visits. Through constant use the cars were in such a poor state two were sold in 1922 and the others later. In 1922-23 three Peugeot cars were purchased and a woman Chauffeur, 'Miss Sword', was employed who lived in the Home and was also in charge of the garage. MDNS was expanding and a Motor Auxiliary was formed in 1929 to take the Trained nurses (Sisters) to patients, and some Sisters used their own cars; even a motorcycle was used by one Sister in 1933. All these forms of transport were intermingled and in the early 1950s, and now as Melbourne District Nursing Service, seven Ford Prefect cars were bought followed by twelve Ford Anglia cars 1955. Having received Royal patronage; the now Royal District Nursing Service (RDNS) had its own fleet of Holden vehicles by the mid 1960s and the Motor Auxiliary ceased operating in 1971 as by then all staff employed were required to have a driving licence. Seat-belts had been introduced to Victoria in 1959 and District fitted them to their cars from 1962, even though they did not become compulsory until 1970. The Holden vehicles were replaced with grey Holden Torana vehicles. After several years the fleet was changed to white Toyota Corolla vehicles. The Melways Directory of maps was introduced in 1966, which was a boon to the Sisters, though it was a few years before it went beyond Seville, so a large paper map was used by the Sisters visiting patients in the areas passed Seville. By 2009 there were 598 cars in the fleet and the Sisters travelled 9 million 200,000 kilometres – this is equivalent to 12 trips to the moon and back. Black and White Photograph of a Royal District Nursing Service (RDNS) Sister about to enter one of the new light grey 2 door Holden Torana RDNS cars. The Sister, who is smiling, is wearing her uniform grey peaked hat over her long dark hair which is drawn back. She is wearing her long grey coat with the RDNS insignia on the upper sleeve and is holding the partly opened driver side door of the car with her left hand. She is holding the handle on the top of her rectangular black nursing case with her right hand. To the right, the grill and black number plate, with the white writing displaying "KXF 024", can be seen. The round RDNS insignia is on the upper centre of the car door. The car is the same width all over, has a flat bonnet which joins a sloping windscreen adjoining a flat roof which runs along and joins a short back window running down to a boot. A black tyred wheel can be seen under wheel arches at the front and near the rear of the vehicle. In the background to the left is a mid size bare tree; behind this portions of several parked cars and behind them a multi storey building with the Written words "Rioby House". To its right and directly behind the car is a mid size bare tree and behind that the end view of a brick building with a hip roof. Barry Sutton Photographer. Quote KL 52rdns transport, rdns uniform, royal district nursing service, rdns

Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Orange enamel and teal mug created for the art installation by artist Margaret Woodward at the Mission to Seafarers. On one side it is decorated with a compass and a latitude and longitude; on the opposite side, a leaf, a QR code on the bottom takes you to the website.Written at the bottom of the mug: Please scan to map the journey of this souvenir * www.sensingtheremote.net *2015cultural events, norla dome, mso, 2015, art installation, margaret woodward

Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Small flyer in PDf for the art installation by artist Margaret Woodward at the Mission to Seafarerscultural events, norla dome, mso, 2015, art installation, margaret woodward

A typed reprint of an article that appeared in The Herald. It is an account of the founding of Somers Camp by Lord Somers. The camp began in 1921 when the Duke of York started a summer camp for boys at Littlestone Aerodrome in England. It was an experiment in bringing together boys from different walks of life to encourage understanding and mutual appreciation of each other. While Lord Somers was Governor of Victoria he started a similar camp here with equal success. Part of the text: "Our aim is to change and improve the mental attitude of the boys to each other — to beget a state of mind in which the two sets merge in each other. As the period of the Camp is short — only one week — every effort is made to give the boys full scope for recreation and play. We do not wish to give them a busman's holiday and saddle them with numerous domestic duties, and so they are free of nearly all these, and can devote the whole of their time to themselves. We wish, too, to give them absolute freedom, with as little hampering discipline as possible, and so long as the simple rules of the Camp, such as punctuality at meals and so on are observed, they can do what they like. The Group Leaders take charge of the organised sports, and as each group is composed of boys from both school and workshop, unity is preserved. Superficial differences in worldly pros perity vanish at the Camp; you can't tell one from t'other; a feeling of comradeship in a common life manifests itself; a spirit of loyalty to each other, and to the ideals behind the camp quickly emerges; artificial barriers tumble down, and we are all one, That, in brief, is the spirit of the Camp. But, of course, that is not the beginning and end of it, for if it were, the benefit would be merely temporary, and the effects would pass off. And so I come to the other and, to my mind, the more important function of the movement which finds expression in what we call the Power House. The Power House is a continuation of the Camp. Every boy who attends the Camp becomes automatically a member of the Power House. The Camp is the Open Sesame to the Power House, and whereas in the Camp the boy has merely enjoyed himself, when he graduates to the Power House he begins to imbibe the spirit of service and to learn that he has responsibilities, both to himself and to others. The Power House has already taken concrete form in the shape of a building in the Albert Park which constitutes a sort of headquarters."A record of the camp at Somers in the words of the founder.Foolscap page x 2 of black type of an article in the HeraldHandwritten 'JL11/10' in black pen, 'Lord Somers and Power House' in blue pen.camp, lord somers camp, lord somers

Lou HUBBARD (1957 -) Born Brisbane, Queensland After a career in the film and television, Melbourne based artist Lou Hubbard completed a Master of Fine Art at RMIT University in 2001. She works primarily with video and installation, and has exhibited widely throughout Australia and internationally, Lou Hubbard is currently the Head of Photography at the Victorian College of the Arts. In announcing the award 2015 Guiguis New Art Award the judges applauded Lou Hubbard on her compelling installation, which comprised a deflated, disembowelled latex horse collapsed over a Coalbrookdale patio chair, table and bench seat situated over a skateboard and plastic dog. “Occupying a space between the traditions of equine, assemblage and unmonumental sculpture, Lou Hubbard’s Dead Still Standing confounds and compels viewers in its uncanny play of materials and movement,” senior curator, contemporary art, National Gallery of Victoria and judge Max Delany said. “In this elaborate yet concise work, Hubbard has created a form of surprising and unsettling effect that reflects our experience of a world in translation.” The win came as a surprise for Hubbard, who said she was overwhelmed at the talent of all 15 finalists. “I was so surprised, because I was in good company with the other artists, who were all quite extraordinary,” she said. “In the nature of the competition, I feel very lucky.” With multi-layer meanings to her piece, Hubbard said it was actually Ballarat’s rich history that inspired her work. She said it was the Ballarat goldfields and the idea of what horses might have gone through during those years that gave her a concept to work with. But that wasn’t the only source of ideals portrayed in the piece – Hubbard also explored the effect training had on horses. “The horse stands in a way that portrays (how) the human exhorts the way of training,” she said. “The horse is edging like it wants to move, which is impossible, and the furniture acts in lots of ways. The chair, for example, is like the horse’s ribs, which are being ripped out.” It was these multiple meanings that also had the curator of the Post Office Gallery, Shelley Hinton, impressed with the work. “The work challenges us ethically and culturally, in a way that pleads for analysis, as we do in our complex daily lives,” she said. Lou Hubbard's 'Dead Still Standing' won the was awarded the prestigious $20,000 Guirguis New Art Prize in 2015. The Federation University Guirguis New Art Prize was a national biennial and aquisitive contemporary art prize. The $20,000 biennial acquisitive prize was sponsored by Ballarat surgeon Mark Guirguis, administered by Federation University Australia and presented in partnership with the Art Gallery of Ballarat.The genesis of the prize was to raise the profile and encourage the Art School of what was then Ballarat University. lou hubbard, guirguis, guirguis new art prize, sculpture, horse, animal, installation artwork