BLOWN UP PHOTO OF VIEW OVER LOOKING FRASER ST. FROM "THE ROCKS". NOTE 2 CHURCHES - ONE C OF E, LATER MOVED TO PRESENT SITE, NEXT TO BLUE STONE ST. PAUL'S. CLUB HOTEL ON LEFT. "METHODIST CHURCH WITHOUT SPIRE AND MARKET NEXT ON PRESENT POLICE STATION PADDOCK OPPOSITE THE METHODIST CHURCH (THEN WESLEYAN) IS THE OLD CEMETERY AND THERE ARE WHITE FORMS LIKE TOMBSTONES SHOWING.BLACK AND WHITE PHOTOGRAPH OF VERY EARLY CLUNES - BUILDINGS, CHURCHES, HOUSESPRIMITIVE METHODIST CHURCH IN HILL ST.local history, photography, photographs, clunes township

The grave of Thomas Sweeney, former convict turned respectable citizen. The Murray and Sweeney families were both early settlers of the Eltham district and connected by marriage. Their family plots are located side by side in the Catholic section of the Eltham Cemetery. Irish-born Thomas Sweeney is regarded as the first settler in Eltham. He was transported to Sydney in 1823 after being convicted of arson. He was granted his freedom in 1838 and married Margaret Meehan in the same year. They moved to Melbourne and in 1842 Thomas purchased 110 acres beside the Yarra River in the vicinity of present-day Sweeneys Lane. He called the property ‘Culla Hill’ and built a small slab hut (reputedly with Wurundjeri help; Margaret is said to have run an informal hospital for them in return). This was followed in 1846 by more substantial buildings consisting of a three-roomed Irish-style ‘longhouse’ and a barn made of stone and handmade bricks, with doors large enough to accommodate a fully loaded wagon. When the gold rush came, Thomas prospered by selling meat and potatoes to the prospectors, enabling him to purchase a further 308 acres in 1856. He promoted the construction of a bridge over the Plenty River and the establishment of a school at Eltham. Roman Catholic Church services were held at Culla Hill in the early years. When he died in 1867, he was regarded as a respected member of the community. Thomas and Margaret are buried in Eltham Cemetery with many of their descendants. Their first son John continued to farm Culla Hill until his death in 1909. Culla Hill passed out of the Sweeneys' possession in 1939. The house and barn remain today, though lesser outbuildings have gone. The facade of the house is much the same as it was in the 1840s. Sacred To the memory of Thomas Sweeney Who died Sep 6th 1867 Aged 65 years May his soul res in peace Also his wife Margaret Died Oct 3rd 1884 aged 73 years And their daughters Annie Died Aug 22nd 1860 aged 21 years Johanna Died Aug 19th 1872 aged 22 years Margaret Died 7th Sep 1913 aged 72 years R.I.P. Also In Memory Of John Sweeney Died 24th May 1909 Aged 65 years Also of his wife Ellen Died 8th March 1910 Aged 64 years R.I.P Also In Memory Of Caroline Infant daughter of John & Ellen Sweeney Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p55 From the piety and poverty of 19th century Eltham, 20th century artists and environmentalists, to today’s comfortable middle class, Eltham Cemetery records it all — and more. A visit to Eltham Cemetery reveals an important social record since its beginnings in 1858. The cemetery was situated on about six acres (2.4ha) (now around 4.8ha) at the corner of Mount Pleasant and Metery Roads.1* It is thought that Metery Road was originally called Cemetery Road, but in the early 1940s, a resident, possibly a councillor, objected to the name resulting in the change.2 Much can be gleaned about the developing Eltham community from burial styles and the names of former local residents. Originally the cemetery was divided into Christian denominations, like others of that time, following the United Kingdom burial system. In 1861 the cemetery included Church of England, Presbyterian, Roman Catholic and Wesleyans (later Methodist) sites. Graves also indicated social class. Some had grand tombstones, perhaps fenced with ornamental cast iron railing, but most in the 1860s and 1870s were constructed of modest stone slabs.3 This indicated the poverty of the district, which was largely inhabited by farmers on small landholdings. A poignant reminder of the high rates of infant mortality of those times, are the many infants and young children recorded on the headstones. Major changes occurred in the cemetery in the late 20th century as Christian adherence weakened and society became more egalitarian and informal. In the early 1970s a non-denominational lawn section for burials was established. Since then all new areas have been non-denominational to accommodate the more diverse local community. Now, instead of large ornamental headstones, some mourners have chosen boulders, reflecting the natural Eltham style, while others choose graves in the lawn areas or niches in walls. In the late 1970s, the University Donor Section was established north-west of Candlebark Lawn for those who donated their bodies for The University of Melbourne medical research. In the early 1980s the natural Australian garden style, popular in Eltham, was mirrored in a new section called Ashes Walk. Local landscape architect Gordon Ford, who had popularised this style, designed the Walk using boulders shaded by native plants beside curved pathways. Landscape architect Robert Boyle later redesigned Ashes Walk and developed other parts of the cemetery in keeping with this style.4 Appropriately Ford, who died in 1999, was interred in the Native Garden Section in a cluster of sites shaded by a large eucalyptus tree.5 By 2007, about 6400 interments were recorded in the Eltham Cemetery. Close inspection reveals notable names in the district’s history. The grave of Thomas Sweeney, a former convict who became a respected citizen, can be found in the Roman Catholic section near the path. Eltham Primary School’s first headmaster, David Clark, is buried in a modest grave in the Church of England section to the east of the path from the main entrance. Sir William Irvine, Victorian Premier from 1900 to 1902, whose grave is in the north-east Presbyterian section was at various times Victoria’s Chief Justice, Deputy Governor and Treasurer.6 Further south is the grave of social reformer Bertram Wainer, born in Scotland in 1928 and died in 1987. He campaigned to legalise abortion and exposed police corruption in allowing illegal ‘backyard’ abortions. Other prominent local residents interred in the cemetery include: Justus Jörgensen, who founded Montsalvat; Alistair Knox, the mud-brick housing pioneer and Eltham Shire Councillor from 1971 to 1975 and President in 1975; Clem and Nina Christensen, who had a major influence on the literary development of post World War Two Australia. Others were: composer Dorian Le Gallienne; artist Peter Glass; Stephen Dattner, a prominent Melbourne furrier; ALP parliamentarian for Greensborough, Pauline Toner and political scientist and commentator, Professor William Macmahon Ball.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, annie sweeney, caroline sweeney, ellen sweeney, eltham cemetery, graves, gravestones, johanna sweeney, john murray, john sweeney, margaret sweeney, mary ellen drain, mary murray, thomas murray, thomas sweeney

Situated at the top of the hill in Arthur Street, the former Jelbart residence and barn were part of a major change that transformed Eltham's character in the late 1960s. Built from the mid 1940s through mid 1950s when Eltham was a rural community, the Jelbrat residence and barn are all that remain of a family property of some 250 acres (100 ha). With growing population pressures, in the late 1960s, owners Ron and Yvonne Jelbart decided to subdivide their property creating the Woodridge Estate in the early 1970s, a major factor towards the transformation of Eltham to the suburb it is today. The Jelbarts had moved to Eltham in the early 1940s when they purchased a poultry farm in New Street, now Lavendar Park Road. (The local Black Friday bushire of January 13, 1939 had started at C.A. (Clarrie) Hurst’s Eltham Poultry Farm and Hatchery in New Street.) Jelbart was primarily a businessman importing office machinery but desired farm beef and dairy cattle so the couple purchased the virgin bushland at what was then at the end of a dirt road, Arthur Street. With post war shortages of most building materials, they followed the example of the Eltham Artists' Colony (later called Montsalvat) and built thier home from mud-bricks and recyclked materials. The barn was first to be completed in 1945 which they made their home whilst building the main residence. It took eight years to complete the two buildings. Both the main residence and the barn are now separate homes, and along with the remaining property being sub-divided further in 1998 are now part of the Kinloch Gardens Estate at 93 Arthur Street. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p139 Standing on a hilltop at Arthur Street, Eltham, the Jelbart residence and former barn were part of a major change that transformed Eltham’s character in the late 1960s. Built from the late 1940s to the mid 1950s when Eltham was a rural community, they are all that remain of what was once a family property of around 250 acres (100 ha). As population pressure increased in the late 1960s, owners Ron and Yvonne Jelbart, decided to subdivide their property. The break-up of this property into the Woodridge Estate in the early 1970s, was a major factor towards transforming Eltham into the suburb it is today.1 Although standing only a few minutes from Eltham’s busy hub and hundreds of houses in Woodridge, scarcely any urban sound disturbs the peace. Views from the two buildings are almost exclusively of trees and extend to Mt. Dandenong to the south-east, the Great Divide to the north, and Melbourne city to the south-west. The Jelbarts had lived in Eltham since the early 1940s when they bought a poultry farm in New Street, now Lavender Park Road. Although Jelbart was primarily a businessman importing office machinery, he was keen to farm dairy and beef cattle, so the couple bought rough bushland at what was then the end of Arthur Street. But a shortage of building materials following World War Two hampered their plans to build their new home, so they followed the example of the Eltham Artists’ Colony (later called Montsalvat) and used mud-bricks and recycled materials.2 With great determination the family and friends constructed their house. Massive timber frames and huge quantities of mud-bricks were made on site. The barn was built first in 1945, and two years later, while camping inside, the Jelbarts started building their house. It took eight years to construct the two buildings, even with the help of professional tradesmen. The buildings, with timber frames infilled with mud-brick and plastered, are reminiscent of the English Tudor style. The Jelbarts are of Cornish stock. Much of the timber framework came from demolished bridges or warehouses, and recycled slate was used for roofs and floors. Quality second-hand materials were readily available in the late 1940s and 1950s when there was much demolition in Melbourne and little respect for heritage. A former 19th century Toorak mansion Woorigoleen provided the magnificent stone fireplace, the timber panelling and the parquetry floor in the living room. The large stone gateposts at the entry of the property came from Melbourne University. Almost no mechanical equipment was used to build the 55 square house and the 25 square barn. Massive timber frames were erected using block and tackle pulleys and timbers were shaped, sawn and drilled by hand. Son and architect Ian, with his family, have lived in and extensively renovated both buildings since the early 1970s. Ian transformed the steep ridge of the property into a plateau, where the main house Kinloch stands, surrounded by terraces and lawns. The grounds retain many native plants, including massive yellow boxes – some nudging 80 years. Ian attached 70 metres of pergolas draped with wisteria, roses and grape vines, to three sides of the house. The beautiful garden is featured in the book Through the Rose Arbour by Rosemary Houseman. The two-storey barn – now a house – retains traces of its original use. The cow-shed with milking and feed-rooms, and the machinery-shed remain. The house, separated on the ground floor by a breeze-way, soars two storeys and includes a mezzanine. These are connected by spiral staircases, to timber-beamed and plaster-lined high-pitched ceilings. The house also descends to a wine cellar. Curiously the roof is of corrugated iron on the south and slate on the north, to save costs. Small-paned windows and three French doors open onto the front lawn, which extends to Jelbart Court.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, arthur street, jelbart barn, jelbart home, kinloch gardens

The building was designed by Charles Maplestone of Heidelberg, son-in-law to Anthony Beale of St Helena. Maplestone was a prominent architect who came out to Australia with his family in 1852. The foundation stone was laid by Mrs Isabella Maplestone on 11th November 1867. The bricklayers for the church were George Stebbing, H Limmer, H Spicer and a Mr Timm while Thomas Day was the stonemason. Another three years were to pass before sufficient money could be raised for its completion. It was opened by Bishop Perry on 1st November, 1870. The church bell which hung under a tree for 50 years until it was incorporated in the parish hall was brought out from England and presented by Charles Orme. In 1916, the estate of George Martin Pizzey left sufficient money to build the red brick hall, which still stands today (2023) though in January 1969 the hall and bell tower were badly damaged by bushfire. Coincidentally the former home of benefactor, George Pizzey was destroyed in the same fire. Of particular significance are the interior and exterior of the church, the Sunday school and hall with emphasis on pre-World War I fabric (excluding the 1990s additions) and the three coloured glass windows currently suspended in the 1990s entry foyer. In 2011 further alterations were made to the front of the Church. The church is historically significant because it was the oldest public building in the former Diamond Valley Shire, is amongst the oldest buildings in the Shire of Nillumbik and is associated with the early settlement of the Diamond Creek district. The church is historically, socially and spiritually significant because it has been a place of worship for over 150 years and continues to be, an important meeting place in the Shire. The church is aesthetically significant for the three stained glass windows executed by the noted stained glass manufacturers, Ferguson & Urie, as well as the supporting coloured glass windows in the church. The Sunday school & parish hall is architecturally significant because the hall is a well executed and preserved example of the work of noted church architects, North & Williams. It is historically significant because it is connected with local parishioner and Melbourne industrialist, George Pizzey, who bequeathed funds for its construction. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Estate Ntionl Trust of Australia (Victoria) Local significance Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p85 St John’s Anglican Church stands like a beacon on the hill on Main Street, Diamond Creek. Today the church has a large congregation, but its early years were marked by a small congregation struggling to find enough money to survive. It was gold in Diamond Creek that resulted in the building of this National Trust registered property.1 This church is far removed from William Wilson’s humble barn (later the Bowling Green) where the first Anglican church services were conducted – probably the first in the district.2 In the mid 19th century services were infrequent as the Rev Francis Hales, travelling on horseback, also conducted services elsewhere, including at Heidelberg, Coburg, Kinglake, Arthurs Creek, St Andrews and Kangaroo Ground. In 1860 Diamond Creek came under the jurisdiction of the Eltham Parish. Until the mid 1860s the Diamond Creek settlement included only about 20 families who were struggling farmers. But this changed when gold was found in 1862. Then the township grew to 200 families, including miners, civil administration workers and shopkeepers. The resulting growth of Church of England adherents prompted them to petition the Government in 1866 for land to build a church. The area chosen, on which the original building still stands, was at the centre of the proposed township. Today church leaders believe that this conspicuous location is one of the reasons for its exceptional growth. Prominent architect Charles Maplestone designed the building as he did the Presbyterian Church at Kangaroo Ground. St John’s, which is still intact, was built in the Gothic Revival style with the traditional rectangular plan of a central nave and sanctuary at the end. It is typical of small churches built in Victoria at that time, with polychromatic hand-made bricks, a porch, diagonal buttresses and a slate roof.3 The church was officially opened by Lord Bishop Perry on November 1, 1870. But during the next 40 years, due to the varying fortunes of gold mining, the church struggled to remain viable. In 1909 it separated from the Eltham Parish to form a parish with Greensborough. Life became more difficult with the privations of World War One. Then disaster struck in 1915 when fire destroyed the Diamond Creek Gold Mine, wiping out the major livelihood of most parishioners. However the church’s morale was lifted in 1916, when it received a bequest to build the red brick hall, from late parishioner and prominent leather manufacturer, George Pizzey. As prosperity grew, in 1924 the congregation separated from Greensborough, but they rejoined in the 1930s Depression. In the 1950s the wider population soared, impacting on St John’s, and it became a separate parish, becoming responsible for six churches at St Andrews, Hazel Glen, Hurstbridge, St Helena and Yarrambat. As parishioner numbers outgrew the building, extensions were added in 1989 and then in 1993, blending in well with the original building. Church members have made a huge contribution to the local community. John Ryan was a Heidelberg Shire Councillor for 25 years from 1931, Mayor in 1939 and headed several local sporting and other organisations. His son Jock became a clergyman and a local historian heading the Nillumbik Historical Society. Another parishioner, Dr Ted Cordner, came to Diamond Creek in 1920. One of his sons Donald, who was a local doctor, won the Brownlow Medal, was President of the Melbourne Cricket Club and President of the Melbourne Grammar School Council. Roy ‘Monty’ Vale was a state Liberal MP and was related to May Vale, a member of the Heidelberg School of Artists.4 In the early 21st century St John’s Anglican Church is one of the fastest growing congregations in Melbourne. References: St Johns Anglican Church complex, Sunday School and Parish Hall 61 Main Street DIAMOND CREEK, NILLUMBIK SHIRE. (2023, June 7). Retrieved from https://vhd.heritagecouncil.vic.gov.au/places/64023 Diamond Creek, VIC. – St John’s Anglican (2023, June 7). Retrieved from https://www.churchhistories.net.au/church-catalog/diamond-creek-vic-st-johns-anglican 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, st john's anglican church, diamond creek

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, great hall, montsalvat

'Fulling', the half-hectare property at Pitt Street, Eltham was the home of landscape designer Gordon Ford and his wife Gwen. Ford bought the property in 1948, originally part of an orchard. The garden encapsulates the major trends of Australian garden design in the second half of the 20th century. The garden design is based on mass (plants) and void (paths and pools), textures and forms. It epitomises the Eltham style because of its relaxed informality and attraction to native wildlife. The mud brick house and designed and built by Ford commenced in 1948. Several extensions were added up to 1970 and were built by Graham Rose (Source: information panel for exhibition, n.d.) Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p147 A narrow timber gate opens onto a garden that has had a huge impact on natural garden development in Australia since the 1950s.1 Fulling, the half-hectare property at Pitt St, Eltham, was the home of the landscape designer, Gordon Ford, who died in 1999. The garden ‘encapsulates the major trends of Australian garden design in the second half of the 20th century...and epitomises the Eltham style of garden’.2 It in turn, was influenced by several Victorian major landscape designers of the mid 20th century – Ellis Stones, Peter Glass and Edna Walling. The gate opens onto a sandy gravel path, one of several, which wind around dramatic pools and what appear to be natural bush, but on close inspection are carefully integrated native, indigenous and exotic plantings. Retaining walls and steps of rock through the garden link different terrace levels. Lichen-covered boulders serve as steps across a pool, leading to the triple level mud-brick house. Ford bought the property, which was originally part of an orchard, in 1948. As the son of a Presbyterian minister, Ford received a good education, which included learning Latin. This was advantageous when he worked in plant sales for the Forestry Commission, before the Second World War. In the late 1940s, however, Ford turned to building and landscape gardening. He worked on the Busst house, an early mud-brick building designed by Alistair Knox and at the same time, Ford was employed by Ellis Stones. Knox described Ford as, ‘one of the funniest men of the district. ...Rocky’s (Ellis Stones) Depression stories and Gordon’s memory and quick tongue made the jobs the most enjoyable of all those hysterical times that made Eltham the centre of the eternal laugh, between the years of 1945 and 1950’.3 Ford’s house, like so many after the war, was built progressively, as more space was needed and formerly scarce materials became available. It began with an army-shed of timber-lined walls, now used as the kitchen. Ford then built what is now the lounge room, and the house grew ‘like topsy and on a shoestring,’ says his widow Gwen. A lot of second-hand materials such as window frames were used, a style made famous particularly with their extensive use at Montsalvat, the Eltham Artists’ Colony. The house was constructed as a joint venture with friends, including artist Clifton Pugh, who built Ford’s bedroom for £10. The polished floorboards and solomite (compressed straw) ceilings, interspersed with heavy beams, exude warmth. The result is a home of snug spaces, with soft light and garden vistas. Several other mud-brick buildings were constructed as needed, including a studio and units for bed-and-breakfast clients. The garden, which has been part of the Open Garden Scheme since the mid 1980s, is based on a balance of mass (plants) and void (paths and pools), textures and forms. It epitomises the Eltham style because of its relaxed informal ethos and attracts native animals. Wattlebirds, scrub wrens, pardalotes, currawongs, owls and even kangaroos, have been seen at Fulling. Gwen, a former English teacher who has worked on the garden since around 1970, urged and helped Ford write his book, The Natural Australian Garden.4 Several of Ford’s favourite trees are in the garden, including the native Casuarina or She-Oak. In spring, the garden is dusted with the purple Orthrosanthus multiflorus or blue native irises and rings with the calls of birds attracted to plants like the callistemons, correas and grevilleas.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, fulling, gordon ford garden, pitt street, eltham mud brick buildings, mud brick house

Newspaper article: A sustainable award, Diamond Valley Leader, 1 November2006, Architect and building Llewellyn Pritchard won resource Efficiency Housing Award, finalist in HIA Greensmart Building of the Year Award. House – Environmental Leader (Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p186) In 2006 environmental awareness was mushrooming in the community, which is reflected in the award-winning house at Main Road near Wattletree Road, Eltham. At first sight, the building appears a mix of a classic Eltham mud-brick house and an avant-garde building style. The crown of solar panels stretching along the width of the curved roof, indicates that this is no ordinary house. In fact it signals a new building trend of minimal impact on the environment. Yet it utilises the environment with high technical expertise to achieve comfort and cut running and maintenance costs. In recognition of this, its designer/builder, Conscious Homes, won the 2006 National HIA Greensmart Resource Efficiency Award. For Conscious Homes director, Llewellyn Pritchard, this house reflects a philosophy, strengthened by his connection with Aboriginal culture, through his foster siblings. Pritchard believes the sustainable way indigenous Australians lived and their spiritual connection with land, demonstrates how humanity is part of the ecology. His interest in environmental design stemmed from growing up in bushy Eltham Shire, with its mud-brick tradition. This was followed by studying Architecture at RMIT in the early 1980s, and learning about passive solar design. Pritchard says this house demonstrates that environmental sustainability is not about sacrifice, but about exceptional levels of occupant comfort, savings in running costs and modern fittings and appliances.1 The solar panels on the north roofs are intentionally obvious to make a statement about what the building is doing. But inside the systems are hidden and interactive with conventional services, such as the underground water tank. The house is water and energy self-sufficient and at 12 squares is much smaller than conventional houses, to minimise resources. Yet it accommodates his family of four with three bedrooms, a living/dining and kitchen area and a bathroom/laundry. Importantly the building is designed to last hundreds of years, by being able to be modified as the need arises, such as for commercial use. In this way the structure minimises its environmental impact. The solid double mud-brick walls (which are insulated) include steel beams and supporting frame, allowing the future removal or alteration of any section. The materials are local, recycled and of low toxicity where possible.2 Inside and out, the mud-brick is rendered and sealed with a combination of cement and sand and a mud-based coating in a soft golden hue increases its life. Inside, the golden-brown timber is plantation Mountain Ash and the concrete floors throughout – of local stone aggregate with a clear seal – have a natural looking random stone appearance. The house sustains a stable temperature of around 20 degrees, assisted by the concrete slab floor. The many large double-glazed windows and highlights (windows set high on walls) provide cross-flow ventilation. The north-facing living area maximises heating from the lower winter sun and is cooler in summer, because the sun is higher. Heating comes from a solar hydronic slab system. All appliances and fittings are high efficiency energy or water rated. Appliances in the timber kitchen include a gas stove and a dishwasher, using the building’s own power and water. French doors open from the living area to a deck, concealing the treatment system for all waste water. This is pumped through sub-soil drippers to the indigenous garden beds and no-dig vegetable patch. Below the carport is the 80,000-litre rainwater tank and at the back, the boiler room houses the solar boiler, water tank access, domestic water supply pump, filter gear and hydronic slab heating controls. The solar system is backed up with gas, which is needed to heat water only in winter. Gas used is less than one quarter of that for an average home with ducted heating. Excess power is fed back to the grid and the building uses about one quarter of the mains electricity of an average home. Other local builders have followed Pritchard’s lead in resource efficiency for minimal environmental impact.main road, eltham, businesses, llewellyn pritchard, hia greensmart building of the year award., efficiency housing award, conscious homes australia pty ltd

St Peter's Church was established in 1861 in the school house. In 1864 the question of building a church was seriously discussed. A foundation stone for the church was laid on 16 November 1864 by Bendan S. Hassell. The architect was Charles Davenport Cuthbert; the trustees were Somerville Learmonth, W.P. Whitcombe, Robert Wynne and J.B. McQuie. The church building committee consisted of Horace walker, J.S. Carver, John M. Fisher, Robert Williams, Thomas Gibson, John E. Hodgson and W. Lindisay Richardson. The foundation stone of the Soldier's Chapel was laid on 06 April 1917. The beautiful stained glass in the chapel was donated by Mrs W. Tunbridge and H.C. Curwen-Walker, in memory of their sons who were killed during World War One. In 1929 a new three manual organ by London's Hill, Norman and Beard was installed. It was the first in Ballarat with electro-pneumatic action.White soft covered booklet outlining the first 100 years of St Peter's Anglican Church, Ballarat. The book includes information on each of the ministers until 1961, a programme of the Centenary Celebrations, and black and white photographs of the exterior and interior of the church. Images include the Pittard Memorial Windows, the Crocker Memorial Windows and baptistry, and H.W.H. Adeney.st peter's anglican church ballarat, churches, religion, charles d. cuthbert, stained glass, w. tunbridge, h.c. curwen-walker

From Antiques Reporter: Florence Tatham Mellblom, (Australian, 1900 - 1983), Visit Portland The First Victorian Settlement, during the Centenary Celebrations from 15th to 23rd November 1934', 1934 colour lithograph, signed 'F. Mellblom' in image lower left, 63.5 x 101.5 cm. Linen-backed. Text continues in lower margin: 'Arbuckle, Waddell Pty Ltd Print, Melb.', Mellblom (nee Henry) was a painter, naturalist and photographer. She was born at Portland, Victoria, and studied art in Ballarat. She was a talented etcher from childhood, and joined the Portland Camera club. She also produced many watercolour paintings of the historic places of Portland. She was married (1932) to Karl Enoch Mellblom.A bluestone building on an arid landscape. Yellow grass in the foreground with one tree standing at the front. There is a blue sky behind. The left hand wing has a door which is slightly open. Above each wing is an engraved piece of stone. Left - Portland, right - Shire. An old rickety fence to the left of the building.Bottom Right - F. Mellblomfemale artist, women, female, landscape, portland landscape, portland shire

David Mitchell was born near the town of Forfar, Scotland, became an apprentice to a stone mason and builder, then emigrated to Australia in 1853. In Melbourne, he set up a builder's yard in Burnley St, Richmond and later bought Cave Hill Limestone Quarries in Lilydale and manufactured the cement in Richmond. He became Shire President for Lillydale in 1883. Also he established a brickworks in Burnley St, Richmond. He was responsible for building PLC College in East Melbourne, Menzies Hotel, The Exhibition building and Scots Church. Although he was very wealthy in his own right, he is also known as the father of Dame Nellie Melba. White soft cover booklet with a large drawing of David Mitchell (1901) on the front.

Black and white image of a large crowd of people watching as a foundation stone is laid in the brickwork of a building under construction. The crowd consists of men, women and children with buildings in the background. Bishop Green is next to the two men who are laying the stone. The image has been mounted on dark grey card.buildings, sunday schools, churches, mrs. bolte, bishop green, parish halls

The Harvest Home Hotel was licensed as a beer shop in 1866. Patrick Vallence was the licensee. On his death in 1874 his widow Mrs M. A. Vallence obtained the license. At the time this image was taken George Marshall was leasing the hotel. Following a decrease in the population of Bacchus Marsh, by 1911 the hotel had lost its licence.The Vallence family still owned the building after the loss of the hotel licence in 1911and it was used for some years after this as a private residence by some members of the Vallence family. Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll', the Jeremeas Family Album. The image depicts the Harvest Home Hotel situated in Main Street Bacchus Marsh. The name of the hotel can be seen above the verandah roof. The building appears to be of stone with decorative stonework corners. A verandah is inset to the left of a gabled front section which has its own door and window. On either side of the door beneath the verandah can be seen boot or shoe scrapers. A deep gutter runs along the front of the hotel, with a slab acting as a bridge to the road. Situated in the gutter at the front of the hotel is a water trough which has an arch above it with an ornate lantern, probably to light the front entry and to enable horses to be watered at night. A hitching post is nearby.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. hotels bacchus marsh, stevenson and mcnicoll 1883 photographs of bacchus marsh and district, vallence family bacchus marsh, harvest home hotel bacchus marsh

George Dickie arrived in the Bacchus Marsh area around 1857. In 1863, he married Ellen Ross Anderson, and after five years of farming in Coimadai, they moved into Bacchus Marsh and established a business. In 1866 he bought the bakery business which had been established by James Boatwood and later conducted by William Watson. This business was in Main Street and is shown in this image during the time it was owned and operated by George Dickie. Ellen and George Dickie had seven children, two sons and five daughters. In his later years he changed the business into a general store and also engaged in grain dealing. He died in 1904 but the business was carried on by his sons until sold in March 1916 to a Charles Medling from Numurkah. The building was later demolished in 1927 to make way for four new shops.Small sepia 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll. The picture shows the business of George Dickie which was located in Main Street Bacchus Marsh. The building is a brick or stone structure with a verandah along the entire frontage of the building. Standing in front of the building is a group of adults and children. On the far left is a man wearing a dress coat and hat. He is possibly Mr. George Dickie the owner of this business. To his left are some younger and older children, and a woman, possibly Mrs DIckie. In the background in the doorway is a young boy with woman behind him. On the right of the picture on the street is a man standing alongside a horse and cart. Some advertising signs are leaning against the shop, footpath and verandah pillar. One of them says 'Chaff, Oats, Bran'. Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, bakeries, shops bacchus marsh, george dickie 1831-1904, dickie family bacchus marsh

Photo - see pdf file for further information. Number Brief Description CC1 S178 at Elsternwick level crossing track works CC2 Building East Preston Depot 1955 CC3 Camberwell depot – post WW2 – lots of trams and a black cat CC4 W2 584 and SW6 958 northbound – Chapel St and Brighton Road CC5 W2 357 – southbound, Chapel St Brighton Road CC6 Pascoe Vale Road, Raceday working – note the signal CC7 The Preston Workshops - The Argus, post WW2, 223, 647 et al CC8 923 or is it 922 being built at Preston – The Argus photo - CC8A 832 being positioned onto trucks at Preston after an overhaul – Argus Photo – see also CC306 CC9 Footscray depot` CC10 W5 797 in St Kilda Road during track works – 1950s CC11 W2 457 at Kew Post Office CC12 Wellington Parade – W2 432, 492 and 337 – special event CC13 Swan St line up of trams – football? Or other special event – Sinclair’s bus on the right side. CC14 W2 630 being washed at a depot – The Argus photo CC15 Royal Park line at Flemington Road – W2 355 and W5 786 CC16 Nicholson St track construction from a tram cab CC17 T181 on tour at Gordon St CC18 T181 on Maribyrnong Bridge CC19 Ditto at River St just off bridge CC20 As for CC18 CC21 At Raleigh Rd CC22 T181 at Footscray depot CC23 Track construction, Nicholson, just north of Gertrude CC24 Commissioning overhead Bourke St tram 988 CC25 Queens Parade – 997 and 994 CC26 Swapping trolley wheel to skid – commissioning CC27 Track construction in Gertrude St CC28 985 in Queens Parade running special CC29 997 in Queens Parade CC30 1033 at North Fitzroy – AETA Special CC31 Bourke St at Elizabeth St – has passengers on board CC32 W6 985, 996 Queens Parade, Mk 3 bus 333 CC33 As above CC34 Showing construction at Nicholson & Gertrude – Bourke St CC35 W2 223 on Burnley temporary bridge – VR track expansion CC36 W5 823 – ditto CC37 Tram on old bridge prior to removal CC38 W2 433 on temporary bridge with new bridge beams and old track CC39 Looking down showing temporary single track – Swan St CC40 Tait train passing under tram bridge CC41 SW6 on single line – off loading CC42 W2 547 at City Road Junction CC43 City Road Jtn – 1969 – 596 and 771 CC44 City Road Jtn – 1969 – 596 and 771 (same as CC45 438 in Flinders St CC46 355 somewhere CC47 552 somewhere CC47A 364 at Preston Workshops? CC48 W2 334 on Traverser – Preston Workshops CC49 Wellington pade – large line up of trams, c1950 925, and 611 CC50 W2 493 Franklin st – advertising for Savings Certificates CC51 Possibly 551 with advertising for fund raising for Blind institute CC52 249 at Hawthorn – Riversdale Junction – with a Tally Ho and Village Fair Aux. board CC53 MMTB Postcard of 511 CC54 Wattle Park terminus with Single line warning sign CC55 Wattle Park Duplication CC56 36 at Domain Junction – 833 CC57 36 at Domain Junction CC58 36 at Domain Junction with 810 and 833 CC59 36 in Swanston by Flinders St Station CC60 36 in Spencer St at A’Beckett CC61 36 crossing Collins St CC62 36 crossing Collins St CC63 36 northbound in St Kilda Road with Shrine in background CC64 36 northbound in Swanston St at Flinders St CC65 Postcard – Ballarat 36 in Domain Road CC66 Postcard - Stampshow – Hawthorn Horse tram CC67 Postcard - Stampshow – Peace cable tram CC68 Postcard - 1041 and cable car set 1 at Preston CC69 Postcard - Colins & Elizabeth – greetings from old Melbourne CC70 Postcard - Cable car set at Preston CC71 Postcard - Twentyman’s cable cars CC72 Postcard - Nu-color-vue – horse tram 256 CC73 Cable car set – Market & Flinders CC74 Cable trams at Twentymans’ in their shed CC75 Cable tram track at Bourke & Spencer prior to removal CC76 Cable tram bogie at Preston Workshops – used as a dolly CC77 Cable trams at Twentymans’ CC78 Postcard - Valentines – Bourke looking west from Swanston CC79 Postcard - Rose 3938 – Bourke at Swanston – the Leviathan building CC80 Postcard - Valentines – Elizabeth St looking south from Collins – No. 19 CC81 Postcard - Rose P4765 – Bourke St Melbourne CC82 Postcard - Rose 4090 – cable tram passing Parliament house CC83 Postcard - Valentines – GPO Elizabeth St CC84 Interior of cable trailer with clothing on a set CC85 Elizabeth St looking north CC86 Cigarette card - Collins St No. 41- WD HO Wills CC87 Postcard - Rialto building with cable set CC88 Postcard - Valentines - Swanston at Flinders looking north CC89 CC90 Q 150 Hanna St – dated on rear CC91 176 turning – photo ex Alan Jungworth CC92 161 on Princes Bridge – minimum fare 4d sign and Inspector CC93 459 at Point Ormond CC94 158 at Gordon St – side on view CC95 X 217 in Swanston St CC96 X 217 in Swanston St with an East Brighton destination CC97 T177 CC98 T177 Peel St – no destination roll – being transferred? CC99 X1 462 in Glenhuntly Road to Point Ormond CC100 X1 462 in Glenhuntly Road to Elsternwick Rly Station CC101 X1 462 in Glenhuntly Road to Point Ormond CC102 Q 150 Hanna St CC103 190 at Camberwell Depot CC104 T182 at Footscray CC105 X1 466 and W2 at Footscray CC106 190 at Camberwell Depot CC107 X1 467 Barkly St Footscray CC108 X2 679 turning into William St from La Trobe St CC109 X2 677 Glenhuntly Road with Point Ormond Destination CC110 Postcard T180 CC111 Postcard format – X1 467 on a truck – see also CC178 CC112 Postcard format – X1 467 at Wantirna South CC113 Q200 and SW6 896 at Thornbury – has labels on rear CC114 T177, Ballarat Road – has labels on rear CC115 T178 at Point Ormond CC116 Postcard X1 465 and 466 CC117 Postcard – X2 676 CC118 Postcard – TMSV X2 217 CC119 810 on temporary bridging – 24-12-67 CC120 W2 575 – Queens Parade junction in, still temporary bridging, substation under construction CC121 Forming Queens Parade Junction base slab CC122 W2 596 prior to tramway works – all tracks still in position CC123 It’s a mass of reinforcing – bridging being formed CC124 Looking north with substation being built CC125 Looking east with some rather tight curves, Wellington St still in use CC126 SW6 958 ex Wellington St with all tracks and signal box and buildings. CC127 Victoria Pde at Gisborne looking east – at least 4 cars CC128 SW6 893? With dash canopy lights and SW6 862 and a man with a newspaper CC129 SW6 894 on the S curves, with tram in Wellington St CC130 Similar photo CC131 W2 564 turning into Wellington St – the concrete tracks are not that old CC132 W2 552 running out of Wellington St CC133 W5 732 from Fitzroy St into St Kilda Road with next iteration in position – very wonky CC134 W5 764 turning into Fitzroy St CC135 SW6 947 turning from Wellington St CC136 W2 586 running out of High St CC137 W2 500 turning into Wellington St CC138 W2 543 in Wellington St inbound CC139 L103 with St Kilda Junction destination, and a tower truck on right CC140 Workmen – new track in Queensway in use CC141 Ditto CC142 L103 in Queensway, and another car in bound CC143 Looking east along Wellington St which has been taken out of use. Also a MMTB Roller CC144 W5 824 and a W2 and all types of wobbly temporary track CC145 W2 354 to High St CC146 Sw6 947 on the S bends CC147 W2 500 looking north – tram on the S bends CC148 SW6 896 leaving the S bend CC149 W2 357 and a MMTB City bus with trees/gardens on the side CC150 W5 817 Elliot Ave – see also CC302 CC151 W2 552 – note the large trolley bridge CC152 W2 550 at depot or workshops CC153 1B truck CC154 SW2 432 CC155 W2 155 at Glenhuntly CC156 SW6 937 on AETA tour? CC157 X2 677 on Footscray service – Ballarat Rd? CC158 W2 641 – High St Kew? CC159 SW6 847 – Power St Hawthorn CC160 Simpson St – big line up CC161 W2 546 truck No. 1? CC162 W2s at Glenhuntly depot CC163 No. 15 truck under 899 CC164 206 and other junk at Preston Workshops CC165 W in Swanston St Melbourne – Rose series card CC166 Y1 613 Batman Ave?? or William St at Collins CC167 Tram plans CC168 X 217 Swanston St – see also 95 and 96 CC169 217 in Swanston St – same as 95 CC169A 192 in St Kilda Road at Princes bridge CC170 192 in St Kilda Road at Princes bridge CC171 Bendigo 3 arriving Malvern depot – being unloaded CC172 Ditto CC173 T180 at a depot CC174 X1 463 wheel set CC175 C30 – dog car side view – close up CC176 C30 dog car CC177 206 and 30 at Preston Workshops CC178 X1 467 on a truck – see CC111 also CC179 42 CC180 42 at a depot, no destination box CC181 W2 556 1A type truck CC182 Flinders St Station – Rose Series CC183 W7 1035 Spring – Nicholson St CC184 W7 1022 MMTB Post Card CC185 Adelaide 178 – has on rear – R. Lilburn 4/82 CC186 Adelaide 175 – has on rear – R. Lilburn 4/82 CC187 Y1 610 on AETA tour CC188 Y1 610 on AETA tour with large group – Point Ormond CC189 AETA display – has GH55-32 in pencil on rear CC190 AETA display – has GH55-29 in pencil on rear CC191 Y1 610 on AETA tour with large group – Point Ormond CC192 VR 53 at Footscray CC193 VR cars 40 and 34 at Elwood wash dock CC194 W7 1024 as the 1970 Christmas tram CC195 Geelong – loading a set of 22E trucks CC196 Geelong 10 and 23 running an AETA special CC197 Geelong – AETA special CC198 Geelong 7 at Junction CC199 Geelong 10, in the city CC200 Geelong 33 with Belmont destination CC201 Geelong 15 Eastern Park destination 29-3-1948 CC202 Geelong 23 at Railway Station – 29-3-1948 CC203 Geelong 23 at Railway Station – 29-3-1948 CC204 Geelong – loading a bogie tram CC205 Geelong – loading a bogie tram CC206 Geelong 40 – loaded on truck CC207 Geelong 40 – on jacks CC208 Geelong 40 on jacks – 19 behind CC209 Geelong 38 with two workers on either side CC210 – 214 Australian Historic Tramways stamp folder and set CC215 Bendigo 17 at depot – has dup JBS on rear CC216 Bendigo 20, 29 bogie and straight sill car at Charing Cross CC217 Bendigo one man bogie Pall Mall CC218 Bendigo – Bogie 23, other cars and welding truck at depot CC219 Bendigo 7 with Quarry Hill destination CC220 Bendigo 21 with Lake Weerona destination CC221 ESCo 18 Ballarat CC222 Ballarat bogie 22 on AETA special CC223 Ditto CC224 Ballarat 34 at Stones Corner – R Lilburn CC225 Ballarat 15 in Bridge St – R Lilburn CC226 Ballarat 40 at Gardens – R Lilburn CC227 Ballarat 37 running out of depot – R Lilburn CC228 Postcard – Valentines – Sturt St with loaded horse tram trailer CC229 AETA Geelong tram tour ticket – 29-3-1948 CC230 Postcard – Geelong – Valentine 2114 – T&G building CC231 Postcard – PMTT ! – High St Malvern CC232 Postcard – Empire – Glenferrie Road, Malvern at Wattletree Rd CC233 Postcard Y469, MMTB CC234 Postcard Z2 Spring St CC235 Postcard – Z1 MMTB CC236 Postcard – Stamp Show W1 431 CC237 Postcard – Stamp show B2005 CC238 Postcard – Stamp show W6 982 CC239 Postcard – Valentines 1264 – Johnstone Park with tram in distance CC240 Postcard – Rose 10711 – Swanston and Lonsdale – Hospital and W232 CC241 Postcard – Rose 4827 – Fitzroy St St Kilda W2 362 and 548 CC242 Postcard – Valentines – 939 – St Kilda War Memorial, W and a R? CC243 Postcard – Valentines – 572 – St Kilda War Memorial, W 413 and 140? CC244 Postcard – Valentines – 938 – Uper and Lower Esplanade – L 104 CC245 Postcard – St Kilda Rd at Princes Bridge Y1 and W CC246 Postcard – Biscay BG82 – W5 814 - CC247 Postcard – Biscay 796112 – Bourke St looking west CC248 Postcard – Biscay 796109 – Bourke St looking east CC249 Postcard – Biscay 2AUS58 – Z5 Bourke St CC250 Postcard – Biscay BG 249 – Swanston St CC251 Postcard – National View – St Kilda Rd – shrine and Prince Henrys W2 405 CC252 Postcard – Nu color vue – 11 ML 156 – St Kilda Rd CC253 Postcard – Nu color vue – 11 ML 153 – Swanston St CC254 Postcard – Nu Color vue – Collins St 442 CC255 Postcard – Pitt card – Adelaide – H 364 at Victoria St CC256 Postcard – SPER L/P 154 CC257 Postcard – BTMS – 550 CC258 Postcard – SPER – Brisbane 295 CC259 Adelaide 131 at Burnside – has R Lilburn on card, c1911 CC260 Adelaide 194 CC261 Adelaide 235, with two crew, The News photo CC262 Rockhampton, outside post office – has source of photo details CC263 Sydney – 2086 and 2062 arriving Circular Quay CC264 Sydney – P class – Pitt St? CC265 Sydney – 1610 at Circular Quay CC266 Brisbane 99 and 468 CC267 Sydney with bridge behind CC268 Steam tram Paramatta Park – 103 CC269 Sydney – Museum Station =- Elizabeth St CC270 Sydney – weed burner 137S at a loop Demonstrates the work of Charles Craig in photography and collection of prints.Assembled album in a black presentation folder of 270 photographs from the Charles Craig Collection - 86 sleeves - part 1 of 2. All photographs have been scanned and placed on the Museum's G drive. A list of all photographs with details where possible has been compiled. Victorian Provincial, Launceston, Hobart and Sydney tram photos have been transferred to other Museums, image files retained.melbourne, tramways, tramcars, trams, charles craig, st kilda junction, trackworks

This ship model of the Wilhelmsburg was made by Johann Landmann during his journey on the very vessel, the sailing ship Wilhelmsburg. It was donated to Flagstaff Hill by the wife of Landmann's great-grandson. Landmann (or Landman, also known as August Landmann) was born in 1826 in Ganhor, Silesia, Prussia. At the age of 20, he travelled through Europe, working from town to town as a cabinet maker. At 26 years old he returned to Germany, married Anna Rosina in Wahlstatt, Prussia, and on the same day sailed for Australia on the Wilhelmsburg in 1853, the year the ship was registered. The Wilhelmsburg was a three-masted, square-rigged sailing ship built at Reiherstieg, Hamburg, and registered in Hamburg on 27th April 1853. On her maiden voyage in 1853, the ship sailed from Hamburg, Germany, to Australia with 510 passengers on board, including emigrants under the Bounty Scheme. Johan Landmann was one of the passengers. The Wilhelmsburg arrived in Hobson’s Bay, Melbourne after sailing for 100 days. Johann spent a week in Melbourne then travelled to Warrnambool aboard the Merry Kitty, arriving fourteen days later. Johann had landed in Melbourne with only 16 shillings in his pocket and by the time he arrived in Warrnambool, he only had one shilling and sixpence left. He also had very limited ability to speak English. He settled in the Allansford area, near Warrnambool, together with other families from Germany and went on to play a significant role in the history of Warrnambool. Johann worked as a cabinet maker in Warrnambool, making the first coffin in the Warrnambool cemetery. He also worked as a general merchant. He built many of the earliest shops in Warrnambool, and the first paddle boat used on the local Hopkins River. He made models of Warrnambool’s Ozone Hotel and Presbyterian Church; the model of the Hotel is now in the Warrnambool Art Gallery, and the model of the Presbyterian Church has been in the care of the Warrnambool & District Historical Society since around 2017. One of Landmann's residences was a two-storey building in Henna Street Warrnambool where he, lived upstairs and operated his business downstairs. After he retired Landmann built a ‘handsome stone residence’ at 30 Mickle Street, Warrnambool, where he lived until his death in June 1920; he was aged ninety-five. “Landmann Street” in Warrnambool has been named after Johann and appears on a map in 1872. He has also been honoured on Warrnambool’s Pioneer Memorial Board which is displayed at the Warrnambool and District Historical Society. Landmann's son Adolph Fritz Landmann (Fritz Landmann) born in 1861, was a Councillor from 1905 to 1915, and Mayor of Warrnambool from 1912 to 1915. The Wilhelmsburg sailed from Hamburg in 1863 heading for Queensland, Australia, but in December the vessel was wrecked off the coast of Holland during storms, with the loss of 247 lives.The ship model of the Wilhelmsburg is significant historically, having a connection to the maiden voyage of a ship that holds the record for the number of passengers carried in one journey on such a small vessel. It is also significant as it is believed to be the only existing model or representation of the ship. Johann Landmann, the maker of the model, was one of the earliest residents in Warrnambool and is a significant historical figure in colonial Warrnambool. He has the honour of appearing on the Memorial Pioneers’ Board. Landmann used his craftsmanship skills to make several early Warrnambool buildings, the first coffin in the cemetery, the first paddle boat on the Hopkins River as well as models of significant local buildings. Model of the sailing ship Wilhelmsburg, carved in wood by Johann Carl Augustus Landmann in 1853. The three-masted model barque is painted black. It has a long bow spit. flagstaff hill, flagstaff hill maritime museum, maritime museum, warrnambool, barque, wilhelmsburg, landmann, johann landmann, augustus landmann, landman, ozone hotel warrnambool, presbyterian church warrnambool, 30mickle street warrnambool, ship model, shipwreck coast, 1853, fritz landmann, warrnambool councillor, warrnambool mayor, anna rosina, maiden voyage, bounty scheme, hobson's bay, hamburg, merry kitty, coffin maker, cabinet maker, paddle boat, henna street, landmann street, pioneer memorial board

This image is one of a series of photographs taken by Melbourne based photographers Stevenson and McNicoll who visited Bacchus Marsh and its nearby districts between September and November 1883. The photo is of a brick residence, built in 1865-66 as a house and surgery for Dr. Rae, a medical practitioner in Bacchus Marsh 1863-1874. Dr. Rae was influential in community affairs as a Justice of the Peace, a member of the Board of Advice of Bacchus Marsh Common School and a President of the Mechanics’ Institute. After ill health forced him to resign his practice, he built the Bungalow in 1880, where he lived until his death. The house was later purchased by William Anderson (c.1880) who named it “Dunglass”. The people in this photograph are probably members of the Anderson family. The house is now used as an Adult Education Centre. The house is of significance as the embodiment of the importance to the community of its influential figures, such as Dr. Rae, in the late nineteenth and early twentieth centuries. Small sepia 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll. The photo is of a double-fronted brick Classical nineteenth century house with a high hip roof. Two brick chimneys are visible. The left hand bay is set forward, with the central section of the house being set back. A concave return verandah supported by decorative columns runs along the front and side of the house, leading to a separate entry door off the side verandah. On the window set in this door, the word ‘SURGERY’ can be discerned, indicating that this is the entrance to be used by patients. The building features buff-coloured stone quoins and architraves. A white picket fence runs along the front. Ranged along the footpath in front of the fence stands a group of eight young women and girls. A flat stone acts as a bridge over a deep drainage culvert running parallel to the street.Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, doctors, houses bacchus marsh

Comfort Station Camping Reserve No 33 Halls Gap The GrampiansLog cabin with a tin roof and stone features around entrance and windows. Building in natural setting.Comfort Station, Camping Reserve hall's Gap Grampians No 33.halls gap grampians

This sharpening stone was likely manufactured in the late 1940's to 1950's in Littleton.In 1932 the NORTON Company purchased the PIKE Manufacturing Company and changed the name to Norton Pike Company. In 1946, ground was broken for a one story brick and steel factory building in Littleton, New Hampshite was completed and occupied in the next year.Emery carborundum stone for honing shaving razors, produced by Norton Pike Company USA after 1932. It is contained in a cardboard box with directions for use on the cover. On the left hand side of the cover are numbers: '4/9', '5/45' and lettering: EK, with a backward arrow underlined underneath and below that a 'H' shaving, barber tools, norton pike co, christenson harry

The foundation stone for St George's Church of England, Mont Albert was laid in 1886 on land donated by Edward Dyer and the first service was preached in January 1887. From 1904 until 1907 it was known as Holy Trinity, Surrey Hills. The original church was weatherboard and replaced by a brick one in the Gothic Revival style which was designed by local architect George J V Blackburne, who also designed the Wesleyan School at Surrey Hills. The building was partly funded by donations, profits from a bazaar and concert, and other people donated furnishings. The church had boundaries along Mont Albert Road and St Georges Road. In 1998 the Church was sold and converted into a complex of units. Its current address is 19 St Georges Avenue, Mont Albert.Black and white photo of 8 boys in suit jackets. 3 boys standing, 3 kneeling with one hanging his arm around shoulder of boy next to him and hand on shoulder of one of 2 boys sitting in front. Outdoor setting with tree and foliage behind. First names of boys identified as Barrie, Maurice, Robin, David, Arthur, Geoff, David and Ian.REAR: Barrie, Maurice, Robin/ David, Arthur/Geoff, David, Ian/March 1945/St Georges SS/1945/children, mary clucas, clothing and dress, 1945, st georges sunday school, holy trinity church, mont albert, sunday schools, surrey hills, st george's anglican church, 1940-1949

The Temperance Society was formed in 1857 and in 1862 the foundation stone was laid for a public drinking fountain and reading room in View Street, Bendigo. In 1864, building additions saw the inclusion of a free library. The fountain, made of Buckeye Creek granite, featured 4 or more taps with drinking cups attached by chain. In 1895 further extensions on the site resulted in the current façade, leaving no room for the fountain. In 1896 the fountain was moved to its current site in Rosalind Park between the sound shell and the school.Newspaper detailing the history of Bendigo's oldest fountains.fountains, temperance hall, malcolm fraser, d buchan

The land for this building was granted to the Benevolent Society by James Atkinson in 1850. Tenders were called for a new "Benevolent Asylum" in 1855, the foundation stone having been laid and by 1856 the first part of the Hospital was completedBlack and white photograph New addition to the hospital with i’ts bay windows. 5 women and two men posed to the sidehospital, health service, nurses, bay window

St.Andrew's Presbyterian Church at Bulla was built on Crown land that the congregation received on 6th September 1858. It overlooks Oaklands Road and the surrounding farms as well as the Tullamarine Airport. The building at the rear is the former manse. It functioned as a place of worship for over 150 years and celebrated its 150th anniversary in 2009. The entire property is now privately owned.It was one of the first permanent church buildings to be built in the district.A non-digital black and white photograph, with a cream border, of a blue-stone church with a high-pitched slate roof and a tall belfry its the main entrance. A smaller residence is visible in the background. The buildings have been erected in an open grassed area.presbyterian church, bulla, oaklands, churches

House, Stone, weatherboard addition at back, corrugated iron roof, cyclone wire fence, 2 brick chimneys with terracotta pots, palm tree at left, creeper growing on fence. Central door, 1 window each side of doorAlan Doneybuilding, residential

A Mechanics Institute in Bacchus Marsh dates from sometime in the 1850s. The first Mechanics Institute Hall was erected in 1858 in Young Street.(Victorian Collections no.659.) In 1883 a new and larger Mechanics Institute Hall was built in Main Street. The new hall cost 2,000 pounds to construct. It was opened by Sir William Clarke on 21 November 1883. The Mechanics Institute Library and rooms at the front of the hall were removed when the building was renovated in 1971. The building still stands and is used as a public hall.Small black and white 'carte de viste' style unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by the photographers Stevenson and McNicoll. The photo is of a substantial brick building under construction. Scaffolding support poles line the front and also can be seen on the top and back of the building. On the rooftop stand three workmen, with a further seven men standing at the front. Three men lean or stand casually at the front in casual poses. Four men stand in a line in another group on the roadway, perhaps indicating that they are master craftsmen. One of these men holds a tool of his trade, resembling a bricklayer’s mortar board. Six boys can be seen, four in a rather jaunty pose. In an indication of its public significance, the four front windows and door are arched and have decorative stone work in the side panels. A picket fence marks the boundary of the adjacent block.Printed On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, mechanics institutes, halls, bacchus marsh mechanics institute

John Simpson arrived in Bacchus Marsh around 1848. In 1850 he established a butchery business. He continued to operate this business in Main Street Bacchus Marsh until his death in 1890. His son John Simpson and one of his brothers, Edward took over the business and operated it until 1923. John Simpson the younger died in 1940 having lived all but a few months of his 92 years in Main Street Bacchus Marsh. Edward L. Simpson died in Corowa, NSW in 1937. The younger John Simpson's recollections of Bacchus Marsh in the 1850s to 1870s were published in the Bacchus Marsh Express on the 25 June 1932.Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'. The image shows a butchery shop in Main Street Bacchus Marsh in 1883. The front of the building is shown. It is a solid brick or stone structure with a shingled roof and verandah. Hanging under the verandah are numerous carcasses and portions of meat. Two men are standing close together in front of the shop. One is wearing a butcher's apron. Another man to the left sits upon a horse. In the doorway behind the men stands a woman. On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, butcher shops, butchers, john simpson butcher 1848-1940, john simpson butcher died 1890

A blue stone cottage with a green front door. A window either side. The front door has a step leading up to it. There is a green bench in front of the building. The building has two chimneys. Ivy climbs up the right hand side of the cottage. In the foreground is a small green path of grass with plants and shrubs. There is a small white dog on the lawn. A sign says - Curator's Cottage. Built 1875. The sky is a purple, pink blue colour.Tracey Gardner bottom right.portland botanic gardens, curator's cottage, portland, bluestone

Wodonga Shire was created in 1876 when the colonial government agreed to ratepayers' petitions to have their part of the local government district severed from the Yackandandah Shire to form a new municipality. After meeting for 14 years in rented remises, in the Prince of Wales Hall, Wodonga Council built its first Shire Hall on the corner of High and Elgin Streets in 1890. The date on the façade of the building, 1876, represents the date of the formation of the Shire. In 1957 the second Shire Office was built in Woodland Grove by A.B. and M. A. Chick. These offices were considered more than adequate for future needs. The façade featured floor to ceiling windows and several different meeting rooms in addition to the council chamber, which featured an impressive “horse shoe” table. It also included a kitchen equipped with modern fittings and a President’s room. In the late 1960s the area between Hovell and Havelock Streets as far as Jack Hore Place was zoned for civic purposes. In 1969 plans for a civic centre providing a library, theatre and senior citizens’ rooms. It was opened on 22 April 1971. In 1973, the Council engaged Bruce Marshall to design new offices beside the Civic Centre. Jennings Industries were contracted to complete the offices. The Governor, Sir Henry Winneke, laid the foundation stone of the new offices on 10 March 1976. The Civic Centre was demolished in 2011 to make may for a new $10 million community and entertainment centre which opened in August 2012.These photos are significant because they depict the different buildings which have housed the centre of local government in Wodonga since its inception as an independent shire in 1876.A series of photographs depicting the different buildings used to house the Wodonga Council and Civic buildings over time.wodonga civic buildings, wodonga council, shire of wodonga, rural city of wodonga

In 1868, with the laying of the foundation stone, a time capsule was placed containing four newspapers of the day (Saturday 25 January, 1868 - The Age, The Argus, The Sun and The Telegraph: St Kilda, Prahran and South Yarra Guardian), the first Annual report of the Victorian Asylum and School for the Blind (1867), 11 coins from the Victorian regency and an illustration of the proposed building at St Kilda Road. An undated note also describes a piece of parchment in the time capsule, which contained a list of names of committee members and relevant people involved in the construction of the building, such as Crouch & Wilson; however no image of this has been located. In 1991, this time capsule was opened as part of 125 year celebrations and the contents were put on display. The capsule was the size of a house brick and buried underneath the foundation stone. It was made of metal and had to be sawn open to reveal the contents. These images are of the items found inside the time capsule. Additionally there are low res images of these items plus some photographs taken on the day: Brian Howe, Minister for Health, holds the time capsule whilst Trent Willard and Janice Johns, current RVIB students, stand by during the raising ceremony; Miss Molly Miller, the oldest surviving student, and Mr Percy Raufer, great grand nephew of Mary-Ann Raufer who was pupil number 6 and enrolled in the school in January 29th, 1866 look at the items found in the time capsule. In 2005 a new time capsule was buried, including an electronic copy of the 1867 report and drawing of St Kilda Road from the 1868 time capsule.Photographs and scans of items found inside the time capsuleroyal victorian institute for the blind, brian howe, trent willard, janice johns, molly miller, percy raufer, time capsule